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Instead, one of Lucas’ beloved creations, the feisty droid R2-D2, rolled onstage and projected her image.\u003c/p>\n\u003cp>“I wanted to be there to help celebrate your Kennedy Center honor in person, but hey, since you invented video voicemail, I don’t have to be,” Fisher said.\u003c/p>\n\u003cp>Steven Spielberg and Martin Scorsese, fellow directors who along with Lucas brought new energy to American cinema in the 1970s, offered more conventional tributes to the \u003cem>Star Wars\u003c/em> creator, hailing him for his technological wizardry and his commitment to storytelling.\u003c/p>\n\u003cp>Lucas also created the \u003cem>Indiana Jones\u003c/em> franchise, directed by Spielberg, and his special-effects company, Industrial Light & Magic, had a part in seven of the top 10 grossing movies of all time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He’s a pathfinder and a pioneer like Edison and Bell and Tesla and Jobs,” Spielberg said. “George Lucas’ \u003cem>Star Wars\u003c/em> absolutely changed films forever.”\u003c/p>\n\u003cp>\u003cem>The Force Awakens,\u003c/em> the seventh movie in the franchise and the first made without Lucas’ involvement as director, producer or writer, opens Dec. 18 and is expected to be one of the highest-grossing films in history.\u003c/p>\n\u003cp>As the crowd of Washington power brokers and Hollywood celebrities stood and applauded, Lucas waved from a balcony, wearing the honorees’ signature rainbow-colored garland. Next to him were first lady Michelle Obama and his fellow honorees: singer-songwriter Carole King, actress and singer Rita Moreno, conductor Seiji Ozawa and actress Cicely Tyson.\u003c/p>\n\u003cp>President Barack Obama was a late arrival to the event after delivering a rare televised address in which he said America would overcome the threat posed by Islamic State militants.\u003c/p>\n\u003cp>Moreno, a native of Puerto Rico who started dancing at age 9, became the first Latina to win an Academy Award when she was honored for her performance as Anita in \u003cem>West Side Story\u003c/em>. Now a Berkeley resident, she was honored for her diverse and boundary-pushing career, including memorable stints on children’s television.\u003c/p>\n\u003cp>Moreno is one of a handful of artists to win an Oscar, Emmy, Grammy and Tony. 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Her memorable performances include \u003cem>The Autobiography of Miss Jane Pittman\u003c/em>, which won her an Emmy, and the groundbreaking miniseries \u003cem>Roots\u003c/em>. She won a lead-actress Tony just two years ago and now, at age 90, she’s starring on Broadway alongside James Earl Jones in \u003cem>The Gin Game\u003c/em>.\u003c/p>\n\u003cp>“She turned down more roles than you could imagine because they didn’t lift or serve us as a people,” actor-director Tyler Perry said. “For six decades, she has been diligent in her pursuit to better us all.”\u003c/p>\n\u003cp>Ozawa, who was born in China to Japanese parents, began conducting as a teenager in Japan after World War II. He went on to lead the Boston Symphony Orchestra for 29 years. 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It will be broadcast Dec. 29 on CBS.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cp>\u003cem class=\"video_caption\">Watch this entire \u003cstrong>Truly CA\u003c/strong> episode: \u003cstrong>Big Joy\u003c/strong> by filmmakers Stephen Silha, Eric Slade and Dawn Logsdon. (Running Time: 53:52)\u003c/em>\u003c/p>\n\u003cp>A key player in the artistic renaissance of San Francisco after World War II, James Broughton fathered a child with film critic Pauline Kael, wrote poetry alongside Allen Ginsberg and Lawrence Ferlinghetti, received an award from Jean Cocteau at Cannes, and went on to push the boundaries of artistic expression and sexual liberation.\u003c/p>\n\u003cp>While celebrating the impact of Broughton’s art, \u003cem>Big Joy: The Adventures of James Broughton\u003c/em> also explores his deeply intertwined creative and personal lives. For a man who joyfully embraced life and preached \"follow your own weird,\" the repressive McCarthy era brought inner turmoil and even an attempt to \"straighten himself out.\" Ultimately, Broughton's experimental films and poetry helped free both his own spirit and that of a new generation, and at the young age of 61, he met the love of his life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Oscar-nominated actor Robert Loggia, who was known for gravelly voiced gangsters from \u003cem>Scarface\u003c/em> to \u003cem>The Sopranos\u003c/em> but who was most endearing as Tom Hanks’ kid-at-heart toy-company boss in \u003cem>Big\u003c/em>, has died. He was 85.\u003c/p>\n\u003cp>Loggia’s wife Aubrey Loggia said he died Friday at his home in Los Angeles after a five year battle with Alzheimer’s. “His poor body gave up,” she said. “He loved being an actor and he loved his life.”\u003c/p>\n\u003cp>Hanks expressed his grief on Twitter.\u003c/p>\n\u003cp>“A great actor in heart and soul,” Hanks wrote. “A sad day.”\u003c/p>\n\u003cp>A solidly built man with a rugged face and rough voice, Loggia fit neatly into gangster movies, playing a Miami drug lord in \u003cem>Scarface\u003c/em>, which starred Al Pacino; and a Sicilian mobster in \u003cem>Prizzi’s Honor\u003c/em>, with Jack Nicholson and Kathleen Turner. He played wise guys in David Lynch’s \u003cem>Lost Highway\u003c/em>, the spoofs \u003cem>Innocent Blood\u003c/em> and \u003cem>Armed and Dangerous\u003c/em>, and again on David Chase’s \u003cem>The Sopranos\u003c/em>, as the previously jailed veteran mobster Michele “Feech” La Manna.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was not as a gangster but as a seedy detective that Loggia received his only Academy Award nomination, as supporting actor in 1985’s \u003cem>Jagged Edge\u003c/em>. He played gumshoe Sam Ransom, who investigated a murder involving Glenn Close and Jeff Bridges.\u003c/p>\n\u003cp>Loggia gave an endearing comic performance in Penny Marshall’s 1988 \u003cem>Big\u003c/em>, when he danced with Tom Hanks on a giant piano keyboard.\u003c/p>\n\u003cp>Hanks played an adolescent granted a wish to be big, overnight becoming a 30-something man who __ still mentally a boy __ eventually finds work at a toy company run by Loggia’s character. A chance meeting in a toy store leads to the pair tapping out joyful duets of “Chopsticks” and “Heart and Soul” on the piano keys built into the floor.\u003c/p>\n\u003cp>Loggia also appeared in five films for comedy director Blake Edwards, including three \u003cem>Pink Panther\u003c/em> films and the dark comedy \u003cem>S.O.B.\u003c/em> He also portrayed Joseph, husband of Mary, in George Stevens’ biblical epic \u003cem>The Greatest Story Ever Told\u003c/em>.\u003c/p>\n\u003cp>Asked in 1990 how he maintained such a varied career, he responded: “I’m a character actor in that I play many different roles, and I’m virtually unrecognizable from one role to another. So I never wear out my welcome.”\u003c/p>\n\u003cp>In 1966 Loggia had the rare opportunity for stardom, taking the lead role in the NBC television drama \u003cem>T.H.E. Cat\u003c/em>.\u003c/p>\n\u003cp>He played a former circus aerialist and cat burglar who guarded clients in danger of being murdered. When the series was canceled after one season, however, the distraught Loggia largely dropped out of the business for a time.\u003c/p>\n\u003cp>“It was a Dante’s \u003cem>Inferno\u003c/em> period for me that most men and women go through if they’ve taken paths they wished they hadn’t,” he recalled in a 1986 interview. “I didn’t want to work. I was played out and I had to re-spark myself.”\u003c/p>\n\u003cp>His marriage had broken up, and he devoted himself mostly to travel and skiing.\u003c/p>\n\u003cp>He credited his re-emergence to a couple of plays for Joseph Papp, \u003cem>Wedding Band\u003c/em> with Ruby Dee and \u003cem>In the Boom-Boom Room\u003c/em> with Madeleine Kahn.\u003c/p>\n\u003cp>He returned to TV with a role in a two-part episode of the TV show \u003cem>Mannix\u003c/em>, and he was soon working regularly again. He even starred in another TV series, \u003cem>Mancuso, FBI\u003c/em>, a spinoff of Loggia’s character in the 1988 miniseries \u003cem>Favorite Son\u003c/em>.\u003c/p>\n\u003cp>Among his later roles was as a general and presidential adviser in the 1996 sci-fi thriller \u003cem>Independence Day\u003c/em>.\u003c/p>\n\u003cp>In 2003 Loggia appeared in four episodes of HBO’s \u003cem>The Sopranos\u003c/em>, as gangster Feech La Manna, who was released from prison and sought to return to the Mafia. Tony Soprano worried about La Manna’s uncontrollable temper and tricked him into violating his parole.\u003c/p>\n\u003cp>The son of Sicilian immigrants, Loggia was born in 1930 in New York City’s borough of Staten Island. He grew up in Manhattan’s Little Italy section.\u003c/p>\n\u003cp>First inclined toward newspaper work, he studied journalism at the University of Missouri, but was drawn to acting and returned to New York to study at the Actors Studio.\u003c/p>\n\u003cp>He appeared on \u003cem>Studio One\u003c/em>, \u003cem>Playhouse 90\u003c/em> and other live dramatic series during television’s Golden Age. He made his stage debut off-Broadway in 1956 in “The Man with the Golden Arm,” appearing in the title role of a drug addict, played in the movie by Frank Sinatra.\u003c/p>\n\u003cp>His Broadway debut came in 1964 with the Actors Studio production of Chekhov’s “The Three Sisters” which also appeared in London.\u003c/p>\n\u003cp>In 1956 Loggia made his film debut in \u003cem>Somebody Up There Likes Me\u003c/em>, playing mobster Frankie Peppo, who tries to persuade boxer Rocky Graziano (Paul Newman) to throw a fight.\u003c/p>\n\u003cp>Loggia married Marjorie Sloane in 1954, and they had three children, daughters Tracey and Kristina and son John.\u003c/p>\n\u003cp>After their divorce, Loggia married Audrey O’Brien in 1982.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>This report contains biographical material compiled by former AP writer Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not as a gangster but as a seedy detective that Loggia received his only Academy Award nomination, as supporting actor in 1985’s \u003cem>Jagged Edge\u003c/em>. He played gumshoe Sam Ransom, who investigated a murder involving Glenn Close and Jeff Bridges.\u003c/p>\n\u003cp>Loggia gave an endearing comic performance in Penny Marshall’s 1988 \u003cem>Big\u003c/em>, when he danced with Tom Hanks on a giant piano keyboard.\u003c/p>\n\u003cp>Hanks played an adolescent granted a wish to be big, overnight becoming a 30-something man who __ still mentally a boy __ eventually finds work at a toy company run by Loggia’s character. A chance meeting in a toy store leads to the pair tapping out joyful duets of “Chopsticks” and “Heart and Soul” on the piano keys built into the floor.\u003c/p>\n\u003cp>Loggia also appeared in five films for comedy director Blake Edwards, including three \u003cem>Pink Panther\u003c/em> films and the dark comedy \u003cem>S.O.B.\u003c/em> He also portrayed Joseph, husband of Mary, in George Stevens’ biblical epic \u003cem>The Greatest Story Ever Told\u003c/em>.\u003c/p>\n\u003cp>Asked in 1990 how he maintained such a varied career, he responded: “I’m a character actor in that I play many different roles, and I’m virtually unrecognizable from one role to another. So I never wear out my welcome.”\u003c/p>\n\u003cp>In 1966 Loggia had the rare opportunity for stardom, taking the lead role in the NBC television drama \u003cem>T.H.E. Cat\u003c/em>.\u003c/p>\n\u003cp>He played a former circus aerialist and cat burglar who guarded clients in danger of being murdered. When the series was canceled after one season, however, the distraught Loggia largely dropped out of the business for a time.\u003c/p>\n\u003cp>“It was a Dante’s \u003cem>Inferno\u003c/em> period for me that most men and women go through if they’ve taken paths they wished they hadn’t,” he recalled in a 1986 interview. “I didn’t want to work. I was played out and I had to re-spark myself.”\u003c/p>\n\u003cp>His marriage had broken up, and he devoted himself mostly to travel and skiing.\u003c/p>\n\u003cp>He credited his re-emergence to a couple of plays for Joseph Papp, \u003cem>Wedding Band\u003c/em> with Ruby Dee and \u003cem>In the Boom-Boom Room\u003c/em> with Madeleine Kahn.\u003c/p>\n\u003cp>He returned to TV with a role in a two-part episode of the TV show \u003cem>Mannix\u003c/em>, and he was soon working regularly again. He even starred in another TV series, \u003cem>Mancuso, FBI\u003c/em>, a spinoff of Loggia’s character in the 1988 miniseries \u003cem>Favorite Son\u003c/em>.\u003c/p>\n\u003cp>Among his later roles was as a general and presidential adviser in the 1996 sci-fi thriller \u003cem>Independence Day\u003c/em>.\u003c/p>\n\u003cp>In 2003 Loggia appeared in four episodes of HBO’s \u003cem>The Sopranos\u003c/em>, as gangster Feech La Manna, who was released from prison and sought to return to the Mafia. Tony Soprano worried about La Manna’s uncontrollable temper and tricked him into violating his parole.\u003c/p>\n\u003cp>The son of Sicilian immigrants, Loggia was born in 1930 in New York City’s borough of Staten Island. He grew up in Manhattan’s Little Italy section.\u003c/p>\n\u003cp>First inclined toward newspaper work, he studied journalism at the University of Missouri, but was drawn to acting and returned to New York to study at the Actors Studio.\u003c/p>\n\u003cp>He appeared on \u003cem>Studio One\u003c/em>, \u003cem>Playhouse 90\u003c/em> and other live dramatic series during television’s Golden Age. He made his stage debut off-Broadway in 1956 in “The Man with the Golden Arm,” appearing in the title role of a drug addict, played in the movie by Frank Sinatra.\u003c/p>\n\u003cp>His Broadway debut came in 1964 with the Actors Studio production of Chekhov’s “The Three Sisters” which also appeared in London.\u003c/p>\n\u003cp>In 1956 Loggia made his film debut in \u003cem>Somebody Up There Likes Me\u003c/em>, playing mobster Frankie Peppo, who tries to persuade boxer Rocky Graziano (Paul Newman) to throw a fight.\u003c/p>\n\u003cp>Loggia married Marjorie Sloane in 1954, and they had three children, daughters Tracey and Kristina and son John.\u003c/p>\n\u003cp>After their divorce, Loggia married Audrey O’Brien in 1982.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>This report contains biographical material compiled by former AP writer Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Janis%3A+Little+Girl+Blue%27+Goes+Beyond+Cliches+Of+A+Sad+Childhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Spike Lee Declares An Emergency In 'Chi-Raq'",
"headTitle": "Spike Lee Declares An Emergency In ‘Chi-Raq’ | KQED",
"content": "\u003cp>Answering one kind of madness with another, Spike Lee’s \u003cem>Chi-Raq\u003c/em> approaches the plague of gun violence in Chicago with a staggering disregard for propriety. Just the title alone — a reference to a fatality rate that’s exceeded that of American soldiers fighting in Iraq and Afghanistan over the same period — was enough to \u003ca href=\"http://www.huffingtonpost.com/2015/04/17/spike-lee-chiraq-backlash-mayor-rahm-emanuel_n_7089574.html\" target=\"_blank\" rel=\"noopener\">raise the ire\u003c/a> of the city’s image-conscious elite, but that’s merely a throat-clearing for the operatic fantasia to come. With Aristophanes’ \u003cem>Lysistrata\u003c/em> serving as an audacious starting point, Lee’s musical/satire/feature-length editorial lurches from genre to genre and tone to tone with as much freewheeling spontaneity as possible for a film where the dialogue is almost entirely in verse. It’s a teeming repository of idea — by turns somber and profane, whimsical and hectoring, inspired and inexplicable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rGTuuj-aTJs\u003c/p>\n\u003cp>This is how Spike Lee starts a conversation. 26 years later, he’s still Mookie, tossing the garbage can through the Sal’s Famous window in \u003cem>Do The Right Thing\u003c/em>, fearlessly provoking a response. The \u003cem>click-clack\u003c/em> of reaction pieces can be heard over virtually every scene in \u003cem>Chi-Raq\u003c/em> — and from all over the political spectrum, too — and Lee hasn’t considered his arguments rigorously enough for the film to survive them all. But he wants the audience to think about the cycle of violence on Chicago’s South Side and the array of contributing factors that perpetuate it. At the same time, he’s made a thoroughly unruly work of art that sets the realities of the streets against the artifice of Greek theater and a cartoon gangland that recalls \u003cem>The Warriors\u003c/em>.\u003c/p>\n\u003cp>Reaching back to Lee’s three earliest films, \u003cem>Chi-Raq\u003c/em> could be described as a fusion of the dodgy sexual politics of \u003cem>She’s Gotta Have It\u003c/em>, the music and intra-racial disputes of \u003cem>School Daze\u003c/em>, and all-points sermonizing of \u003cem>Do The Right Thing\u003c/em>. Co-scripting with Kevin Willmott — whose brilliant mockumentary \u003cem>C.S.A: The Confederate States of America\u003c/em> imagines what might have happened if the South won the Civil War — Lee structures the film around Aristophanes’ outrageous premise of sex as a leverage for peace. The electric Teyonah Parris, previously seen in \u003cem>Dear White People\u003c/em>, stars as Lysistrata, a beautiful woman who takes decisive action after witnessing a pair of shootings.\u003c/p>\n\u003cp>Lysistrata’s boyfriend, Demetrius Dupree (Nick Cannon), who raps under the name “Chi-Raq,” heads up a purple-clad gang called the Spartans, and he looks for revenge after Cyclops (Wesley Snipes) and the rival Trojans, wearing orange, open fire during one of his club shows. When a stray Spartan bullet fells an 11-year-old girl and Lysistrata sees the anguish of the child’s mother (Jennifer Hudson, whose own personal tragedies are brought to the surface), she persuades the wives and girlfriends of gang members, as well as other women in the community, to withhold sex until the men come to their senses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Samuel L. Jackson turns up as Dolmedes, the one-man Greek chorus who introduces the verse and ties the disparate story threads together, and John Cusack and Angela Bassett both do vital work as an activist priest and an intellectual, respectively, who lend their voices to the cause. Among the root causes batted around are the macho intransigence of gang leaders, faulty and corrupt institutions, mass incarceration, high unemployment, and poverty, and Lee tosses in up-to-the-minute talk about Sandra Bland and the church shooting in Charleston, South Carolina. “THIS IS AN EMERGENCY” scream the opening titles in big bold letters, and \u003cem>Chi-Raq\u003c/em> seeks to stay right in the moment.\u003c/p>\n\u003cp>Lee’s compulsion to jam every idea he has into the frame gives \u003cem>Chi-Raq\u003c/em> an instability that often sacrifices coherence for vitality. Though \u003cem>Lysistrata\u003c/em> is a satire, Lee’s film uses it mainly as a conceptual hook, so elements that are completely absurd and outrageous, like Lysistrata’s bizarre encounter with a neo-Confederate officer, are juxtaposed with scenes where Cusack and Bassett sound off earnestly about the issues of the day. They may share the same subject, but they don’t share the movie that comfortably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then again, a little misbehavior is the point. The fantasy and realism of \u003cem>Chi-Raq\u003c/em> may go together like plaids and stripes, but Lee isn’t one to let perfect be the enemy of good. If nothing else, the film asserts the value of trying something and failing rather than retreating to safe spaces. It turns candor into the highest possible virtue.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Answering one kind of madness with another, Spike Lee’s \u003cem>Chi-Raq\u003c/em> approaches the plague of gun violence in Chicago with a staggering disregard for propriety. Just the title alone — a reference to a fatality rate that’s exceeded that of American soldiers fighting in Iraq and Afghanistan over the same period — was enough to \u003ca href=\"http://www.huffingtonpost.com/2015/04/17/spike-lee-chiraq-backlash-mayor-rahm-emanuel_n_7089574.html\" target=\"_blank\" rel=\"noopener\">raise the ire\u003c/a> of the city’s image-conscious elite, but that’s merely a throat-clearing for the operatic fantasia to come. With Aristophanes’ \u003cem>Lysistrata\u003c/em> serving as an audacious starting point, Lee’s musical/satire/feature-length editorial lurches from genre to genre and tone to tone with as much freewheeling spontaneity as possible for a film where the dialogue is almost entirely in verse. It’s a teeming repository of idea — by turns somber and profane, whimsical and hectoring, inspired and inexplicable.\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/rGTuuj-aTJs'\n title='//www.youtube.com/embed/rGTuuj-aTJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is how Spike Lee starts a conversation. 26 years later, he’s still Mookie, tossing the garbage can through the Sal’s Famous window in \u003cem>Do The Right Thing\u003c/em>, fearlessly provoking a response. The \u003cem>click-clack\u003c/em> of reaction pieces can be heard over virtually every scene in \u003cem>Chi-Raq\u003c/em> — and from all over the political spectrum, too — and Lee hasn’t considered his arguments rigorously enough for the film to survive them all. But he wants the audience to think about the cycle of violence on Chicago’s South Side and the array of contributing factors that perpetuate it. At the same time, he’s made a thoroughly unruly work of art that sets the realities of the streets against the artifice of Greek theater and a cartoon gangland that recalls \u003cem>The Warriors\u003c/em>.\u003c/p>\n\u003cp>Reaching back to Lee’s three earliest films, \u003cem>Chi-Raq\u003c/em> could be described as a fusion of the dodgy sexual politics of \u003cem>She’s Gotta Have It\u003c/em>, the music and intra-racial disputes of \u003cem>School Daze\u003c/em>, and all-points sermonizing of \u003cem>Do The Right Thing\u003c/em>. Co-scripting with Kevin Willmott — whose brilliant mockumentary \u003cem>C.S.A: The Confederate States of America\u003c/em> imagines what might have happened if the South won the Civil War — Lee structures the film around Aristophanes’ outrageous premise of sex as a leverage for peace. The electric Teyonah Parris, previously seen in \u003cem>Dear White People\u003c/em>, stars as Lysistrata, a beautiful woman who takes decisive action after witnessing a pair of shootings.\u003c/p>\n\u003cp>Lysistrata’s boyfriend, Demetrius Dupree (Nick Cannon), who raps under the name “Chi-Raq,” heads up a purple-clad gang called the Spartans, and he looks for revenge after Cyclops (Wesley Snipes) and the rival Trojans, wearing orange, open fire during one of his club shows. When a stray Spartan bullet fells an 11-year-old girl and Lysistrata sees the anguish of the child’s mother (Jennifer Hudson, whose own personal tragedies are brought to the surface), she persuades the wives and girlfriends of gang members, as well as other women in the community, to withhold sex until the men come to their senses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Samuel L. Jackson turns up as Dolmedes, the one-man Greek chorus who introduces the verse and ties the disparate story threads together, and John Cusack and Angela Bassett both do vital work as an activist priest and an intellectual, respectively, who lend their voices to the cause. Among the root causes batted around are the macho intransigence of gang leaders, faulty and corrupt institutions, mass incarceration, high unemployment, and poverty, and Lee tosses in up-to-the-minute talk about Sandra Bland and the church shooting in Charleston, South Carolina. “THIS IS AN EMERGENCY” scream the opening titles in big bold letters, and \u003cem>Chi-Raq\u003c/em> seeks to stay right in the moment.\u003c/p>\n\u003cp>Lee’s compulsion to jam every idea he has into the frame gives \u003cem>Chi-Raq\u003c/em> an instability that often sacrifices coherence for vitality. Though \u003cem>Lysistrata\u003c/em> is a satire, Lee’s film uses it mainly as a conceptual hook, so elements that are completely absurd and outrageous, like Lysistrata’s bizarre encounter with a neo-Confederate officer, are juxtaposed with scenes where Cusack and Bassett sound off earnestly about the issues of the day. They may share the same subject, but they don’t share the movie that comfortably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then again, a little misbehavior is the point. The fantasy and realism of \u003cem>Chi-Raq\u003c/em> may go together like plaids and stripes, but Lee isn’t one to let perfect be the enemy of good. If nothing else, the film asserts the value of trying something and failing rather than retreating to safe spaces. It turns candor into the highest possible virtue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every Oscar season, the focus falls on the top actor races, how many times Meryl Streep has been nominated, and what people might wear to the ceremony. Meanwhile, the award for best documentary of the year is often overlooked; the announcement often coincides with the time during the Oscar party \u003ca href=\"http://ww2.kqed.org/pop/oscars-2016-watch-all-the-trailers-from-the-documentary-shortlist-citizenfour\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/oscars-2016-watch-all-the-trailers-from-the-documentary-shortlist-citizenfour\" target=\"_blank\" title=\"Oscars 2016: Watch All the Trailers from the Documentary Shortlist\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Artful Dodger: Visual Art Happenings and Last Chances for December",
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"content": "\u003cp>Don’t let KOIT FM’s nonstop Christmas music lull you into an early December holiday laze. There’s so much left to do in 2015!\u003c/p>\n\u003cp>Turn the dial, put on your warm socks and feast your eyes on these Bay Area visual art events.\u003c/p>\n\u003cfigure id=\"attachment_11124167\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124167\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Lehner640.jpg\" alt=\"Ace Lehner, 'Holding Hands,' 2013.\" width=\"640\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lehner640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lehner640-400x318.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ace Lehner, ‘Holding Hands,’ 2013. \u003ccite>(Courtesy: Random Parts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 5, 2015 – Jan. 9, 2016: \u003ci>\u003ca href=\"http://www.randomparts.org/ace-lehner/\" target=\"_blank\" rel=\"noopener\">Gangsters Revisited\u003c/a>\u003c/i> at Random Parts, Oakland. \u003c/strong>Local photographer Ace Lehner documents Cookie Paloma and Renee De Jesus dressed in the trappings and adopting the poses of their teenage identities as Latina “gangsters.” Posed in surreal suburban landscapes and sun-dappled natural settings, the women reenact a complicated moment in their personal histories — part survival tactic, part visual assertion of their heritage. Attend an artist talk on Dec. 11 for a more in-depth examination of the “collaboration” between the Lehner, Paloma and De Jesus.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124166 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crank640.png\" alt=\"Crank640\" width=\"640\" height=\"274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crank640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crank640-400x171.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003cstrong>Thursday, Dec. 10, 7-9pm: \u003ca href=\"http://soex.org/events/crank-screening\" target=\"_blank\" rel=\"noopener\">\u003ci>Crank\u003c/i> Screening\u003c/a> at Southern Exposure, San Francisco. \u003c/strong>No, this is not a showing of the ridiculous 2006 Jason Statham action flick in which our hero becomes the human equivalent of the bus in \u003ci>Speed\u003c/i>. It’s the companion event of Southern Exposure’s annual juried exhibition! You’ll be sure to see something new in this evening of short works by local artists, selected by Gabriela Monroy, Mexican video artist and seasoned film festival director, programmer and juror. FREE!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124169 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noir640.jpg\" alt=\"Noir640\" width=\"640\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noir640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noir640-400x193.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12, 7-9:30pm: \u003ca href=\"http://www.neonbook.xyz/events.html\" target=\"_blank\" rel=\"noopener\">Neon and Noir: \u003ci>Dark Passage\u003c/i>\u003c/a> at the Balboa Theatre, San Francisco. \u003c/strong>If you heeded \u003ca href=\"http://ww2.kqed.org/arts/2014/12/01/page-turners-a-2014-art-book-gift-guide/\" target=\"_blank\" rel=\"noopener\">my art book gift guide last year\u003c/a>, you might be the happy owner of \u003ci>San Francisco Neon\u003c/i>, the glossy compendium of the city’s past and present neon signage. Authors Al Barna and Randall Ann Homan host an evening at the Balboa with screenings of neon-focused footage from the Prelinger Archive, a supercut of neon signs in classic noir films and the main event, \u003ci>Dark Passage\u003c/i>, a 1947 classic starring Humphrey Bogart and Lauren Bacall in a “neon-soaked San Francisco.” $11, \u003ca href=\"https://www.ticketbase.com/events/sf-neon-noir\" target=\"_blank\" rel=\"noopener\">tickets here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11124170\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/OMCA640.jpg\" alt=\"Jedediah Caesar, 'Gleaning Stones,' 2008-2011.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OMCA640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OMCA640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jedediah Caesar, ‘Gleaning Stones,’ 2008-2011. \u003ccite>(Courtesy of the artist and Susanne Vielmetter Los Angeles Projects/Photo: Robert Wedemeyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 12, 2015 – April 24, 2016: \u003ci>\u003ca href=\"http://museumca.org/exhibit/unearthed-found-made\" target=\"_blank\" rel=\"noopener\">UNEARTHED: Found + Made\u003c/a>\u003c/i> at Oakland Museum of California. \u003c/strong>Pairing work by Oakland-born, Los Angeles-based artist Jedediah Caesar with rocks collected by local suiseki societies, \u003ci>UNEARTHED\u003c/i> highlights the aesthetic merits of collection and appreciation. While Ceasar gathers detritus from the urban landscape and encases it in resin, forming geologic-like sculptures, suiseki is a Japanese tradition of selecting and displaying stones found in nature on carved wooden platforms. Displayed side by side, the objects in the exhibition are both “ground up” (as in crushed) and brought up from the ground to loftier levels of contemplation. $6.95-$15.95, \u003ca href=\"http://museumca.org/plan-your-visit\" target=\"_blank\" rel=\"noopener\">tickets here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11124168\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Lux640.jpg\" alt=\"Chris Lux, 'The Favorite,' 2015.\" width=\"640\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lux640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lux640-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Lux, ‘The Favorite,’ 2015. \u003ccite>(Courtesy: Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Closing soon and not to be missed!\u003c/strong>\u003cbr>\nThere’s lots of last chances this month — all of which are FREE. At the top of my list is Chris Lux’s solo show \u003ci>\u003ca href=\"http://etaletc.com/ChrisLux\" target=\"_blank\" rel=\"noopener\">With Nude Spoons\u003c/a>\u003c/i> at San Francisco’s Et al., on view through Dec. 19. This strange synesthetic experience will confuse both your eyes and any attempt to document the installation of painting, sculpture and pure, vivid color.\u003c/p>\n\u003cp>Drop by Romer Young Gallery for another experiment in perceptual shifts, this time with black light. \u003ci>\u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener\">Deep Dark Submersion\u003c/a>\u003c/i>, a group show guest-curated by Los Angeles-based Sarah Lehrer-Graiwer, is on view through Dec. 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Further afield in Oakland, Krowswork’s \u003ci>\u003ca href=\"http://krowswork.com/sonyarapoport.html\" target=\"_blank\" rel=\"noopener\">Sonya Rapoport: Final Works\u003c/a>\u003c/i> is on view through Dec. 19, a presentation of the late artist’s last collage and interactive installation work, the culmination of a 66-year-long career ranging from expressionist painting to new media.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don’t let KOIT FM’s nonstop Christmas music lull you into an early December holiday laze. There’s so much left to do in 2015!\u003c/p>\n\u003cp>Turn the dial, put on your warm socks and feast your eyes on these Bay Area visual art events.\u003c/p>\n\u003cfigure id=\"attachment_11124167\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124167\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Lehner640.jpg\" alt=\"Ace Lehner, 'Holding Hands,' 2013.\" width=\"640\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lehner640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lehner640-400x318.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ace Lehner, ‘Holding Hands,’ 2013. \u003ccite>(Courtesy: Random Parts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 5, 2015 – Jan. 9, 2016: \u003ci>\u003ca href=\"http://www.randomparts.org/ace-lehner/\" target=\"_blank\" rel=\"noopener\">Gangsters Revisited\u003c/a>\u003c/i> at Random Parts, Oakland. \u003c/strong>Local photographer Ace Lehner documents Cookie Paloma and Renee De Jesus dressed in the trappings and adopting the poses of their teenage identities as Latina “gangsters.” Posed in surreal suburban landscapes and sun-dappled natural settings, the women reenact a complicated moment in their personal histories — part survival tactic, part visual assertion of their heritage. Attend an artist talk on Dec. 11 for a more in-depth examination of the “collaboration” between the Lehner, Paloma and De Jesus.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124166 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crank640.png\" alt=\"Crank640\" width=\"640\" height=\"274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crank640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crank640-400x171.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003cstrong>Thursday, Dec. 10, 7-9pm: \u003ca href=\"http://soex.org/events/crank-screening\" target=\"_blank\" rel=\"noopener\">\u003ci>Crank\u003c/i> Screening\u003c/a> at Southern Exposure, San Francisco. \u003c/strong>No, this is not a showing of the ridiculous 2006 Jason Statham action flick in which our hero becomes the human equivalent of the bus in \u003ci>Speed\u003c/i>. It’s the companion event of Southern Exposure’s annual juried exhibition! You’ll be sure to see something new in this evening of short works by local artists, selected by Gabriela Monroy, Mexican video artist and seasoned film festival director, programmer and juror. FREE!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124169 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noir640.jpg\" alt=\"Noir640\" width=\"640\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noir640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noir640-400x193.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12, 7-9:30pm: \u003ca href=\"http://www.neonbook.xyz/events.html\" target=\"_blank\" rel=\"noopener\">Neon and Noir: \u003ci>Dark Passage\u003c/i>\u003c/a> at the Balboa Theatre, San Francisco. \u003c/strong>If you heeded \u003ca href=\"http://ww2.kqed.org/arts/2014/12/01/page-turners-a-2014-art-book-gift-guide/\" target=\"_blank\" rel=\"noopener\">my art book gift guide last year\u003c/a>, you might be the happy owner of \u003ci>San Francisco Neon\u003c/i>, the glossy compendium of the city’s past and present neon signage. Authors Al Barna and Randall Ann Homan host an evening at the Balboa with screenings of neon-focused footage from the Prelinger Archive, a supercut of neon signs in classic noir films and the main event, \u003ci>Dark Passage\u003c/i>, a 1947 classic starring Humphrey Bogart and Lauren Bacall in a “neon-soaked San Francisco.” $11, \u003ca href=\"https://www.ticketbase.com/events/sf-neon-noir\" target=\"_blank\" rel=\"noopener\">tickets here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11124170\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/OMCA640.jpg\" alt=\"Jedediah Caesar, 'Gleaning Stones,' 2008-2011.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OMCA640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OMCA640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jedediah Caesar, ‘Gleaning Stones,’ 2008-2011. \u003ccite>(Courtesy of the artist and Susanne Vielmetter Los Angeles Projects/Photo: Robert Wedemeyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 12, 2015 – April 24, 2016: \u003ci>\u003ca href=\"http://museumca.org/exhibit/unearthed-found-made\" target=\"_blank\" rel=\"noopener\">UNEARTHED: Found + Made\u003c/a>\u003c/i> at Oakland Museum of California. \u003c/strong>Pairing work by Oakland-born, Los Angeles-based artist Jedediah Caesar with rocks collected by local suiseki societies, \u003ci>UNEARTHED\u003c/i> highlights the aesthetic merits of collection and appreciation. While Ceasar gathers detritus from the urban landscape and encases it in resin, forming geologic-like sculptures, suiseki is a Japanese tradition of selecting and displaying stones found in nature on carved wooden platforms. Displayed side by side, the objects in the exhibition are both “ground up” (as in crushed) and brought up from the ground to loftier levels of contemplation. $6.95-$15.95, \u003ca href=\"http://museumca.org/plan-your-visit\" target=\"_blank\" rel=\"noopener\">tickets here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11124168\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11124168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Lux640.jpg\" alt=\"Chris Lux, 'The Favorite,' 2015.\" width=\"640\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lux640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Lux640-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Lux, ‘The Favorite,’ 2015. \u003ccite>(Courtesy: Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Closing soon and not to be missed!\u003c/strong>\u003cbr>\nThere’s lots of last chances this month — all of which are FREE. At the top of my list is Chris Lux’s solo show \u003ci>\u003ca href=\"http://etaletc.com/ChrisLux\" target=\"_blank\" rel=\"noopener\">With Nude Spoons\u003c/a>\u003c/i> at San Francisco’s Et al., on view through Dec. 19. This strange synesthetic experience will confuse both your eyes and any attempt to document the installation of painting, sculpture and pure, vivid color.\u003c/p>\n\u003cp>Drop by Romer Young Gallery for another experiment in perceptual shifts, this time with black light. \u003ci>\u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener\">Deep Dark Submersion\u003c/a>\u003c/i>, a group show guest-curated by Los Angeles-based Sarah Lehrer-Graiwer, is on view through Dec. 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Further afield in Oakland, Krowswork’s \u003ci>\u003ca href=\"http://krowswork.com/sonyarapoport.html\" target=\"_blank\" rel=\"noopener\">Sonya Rapoport: Final Works\u003c/a>\u003c/i> is on view through Dec. 19, a presentation of the late artist’s last collage and interactive installation work, the culmination of a 66-year-long career ranging from expressionist painting to new media.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Movie theaters are crammed on Christmas Day, even in years without a \u003cem>Star Wars\u003c/em> merchandise tie-in playing on half the screens. The Scrooges among us cackle that people crave an escape from their families for a couple hours, even if it entails riding in the same car and sitting in the same row. Santa’s many helpers, on the other hand, note that the frenetic demands of December allow no time for a break until, well, the 25th day of the month.\u003c/p>\n\u003cp>Here are five enticements and encouragements to set everything aside and catch a movie before the crunch. If they all hearken to the past, well, remember that January offers ample time to catch up with the new films hoping to vie for Oscars.\u003c/p>\n\u003cfigure id=\"attachment_11123078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Janis640.jpg\" alt=\"Janis Joplin smoking a cigarette in Denmark.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Janis640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Janis640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janis Joplin smoking a cigarette in Denmark. \u003ccite>(Photo: Jan Persson/Courtesy of Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.roxie.com/ai1ec_event/janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">Janis: Little Girl Blue\u003c/a>\u003cbr>\nOpening Dec. 4 at the Roxie and Smith Rafael Film Center\u003c/b>\u003cbr>\nThe adoration of Janis Joplin had everything to do with the rawness and intensity she brought to the stage and the studio. It was easy to relate to the pain in her voice, and to appreciate the power of those pipes, but it was her gutsy, put-it-all-on-the-line-every-time ethos that galvanized her fans. (And peers like Mama Cass Elliot, caught in open-mouthed amazement in D.A. Pennebaker’s splendid \u003cem>Monterey Pop\u003c/em> as Janis rocked out.) Godforsaken Port Arthur, TX gave Janis her fuel and fury, but acid-washed San Francisco welcomed her wild-child spirit and provided collaborators like Big Brother and the Holding Company. That colorful slice of local history is the best part of \u003cem>Janis: Little Girl Blue\u003c/em>, Amy Berg’s feature-length documentary.\u003c/p>\n\u003cfigure id=\"attachment_11123079\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123079\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/GrimGame640.jpg\" alt=\"Harry Houdini in 'The Grim Game,' 1919.\" width=\"640\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/GrimGame640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/GrimGame640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harry Houdini in ‘The Grim Game,’ 1919. \u003ccite>(Courtesy: SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.silentfilm.org/homepage/whats-new/a-day-of-silents\" target=\"_blank\" rel=\"noopener\">A Day of Silents\u003c/a>\u003cbr>\nDec. 5 at the Castro\u003c/b>\u003cbr>\nI’ve spilled a lot of pixels over the years (and man, are they a drag to mop up — just ask Buster Keaton) alerting the uninitiated to the impeccable presentations of the San Francisco Silent Film Festival and the contemporary pleasures of pioneering cinema. The fest’s offseason endeavor, A Day of Silents, has something for everyone among its five programs, from Douglas Fairbanks swashbuckling across the deck of \u003cem>The Black Pirate\u003c/em> to Anna May Wong mesmerizing every male in \u003cem>Piccadilly\u003c/em>. Take a trip back in time with the archival compilation “Around China With a Movie Camera,” or savor Harry Houdini slipping his bonds to thwart upper-crust murderers in \u003cem>The Grim Game\u003c/em>. Whatever you do, don’t miss the breathtaking production design of \u003cem>The Inhuman Woman (L’Inhumaine)\u003c/em>, French director Marcel L’Herbier’s saga of a singer stung by scandal.\u003c/p>\n\u003cfigure id=\"attachment_11123080\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Thundercrack640.jpg\" alt=\"Still from 'Thundercrack!'\" width=\"640\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Thundercrack640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Thundercrack640-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Thundercrack!’ \u003ccite>(Courtesy: Castro Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">Thundercrack!\u003c/a>\u003cbr>\nDec. 11 at the Castro\u003c/strong>\u003cbr>\nCarol Doda’s passing last month reminded everyone with a 415 number that San Francisco characters — of any age — are an endangered species. We especially miss filmmaker and sexual rebel Curt McDowell and his mentor, filmmaker and devout eccentric George Kuchar. The perverse and dynamic duo leaps naked and beaming into the spotlight with two shows of the newly-restored director’s cut of their over-the-top underground epic \u003cem>Thundercrack!\u003c/em> Drag impresario Peaches Christ is the ringleader for what promises to be a wild and stormy night (you don’t need a weatherman to know the effect of graphic screen sex on Castro audiences) and an only-slightly-less-rambunctious matinee. This revival commemorates the film’s 40th anniversary, as well as Synapse Films’ imminent DVD release.\u003c/p>\n\u003cfigure id=\"attachment_11123081\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/NoirCity640.jpg\" alt=\"Noir City Xmas\" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NoirCity640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NoirCity640-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Noir City Xmas \u003ccite>(Courtesy Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">Noir City Xmas\u003c/a>\u003cbr>\nDec. 16 at the Castro\u003c/b>\u003cbr>\nNow that we’ve got the ’20s, ’60s and ’70s covered, we turn to the ’40s. With Noir City just over the horizon in January, idling like a Plymouth waiting for a gang of bank robbers to make its getaway, Eddie Muller and Co. proffer a cyanide-laced appetizer. Noir City Xmas delivers a double helping of squalid suspense, beginning with extortionist James Mason picking on housewife Joan Bennett in Max Ophuls’ creepy \u003cem>The Reckless Moment\u003c/em>. (Local filmmakers Scott McGehee and David Siegel adapted the same source novel for their chilly 2001 thriller, \u003cem>The Deep End\u003c/em>). Richard Widmark’s cracked performance as a wacko bird circling the unfortunate pigeon who fingered him to the cops has made \u003cem>Kiss of Death\u003c/em> justifiably famous. If a hard rain’s gonna fall this winter, let it be that night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener\">New Mission Opening\u003c/a>\u003cbr>\nDec. 17\u003c/strong>\u003cbr>\nFinally, the long-awaited, long-delayed opening of Austin-based Alamo Drafthouse’s San Francisco outpost. A fortuitous collision of the old and the new, the renovated and restored New Mission will offer art house fare buoyed with vintage genre, cult and classics series on weeknights. They did score the \u003cem>Star Wars\u003c/em> flick to launch things, but that kind of blockbuster will be the exception rather than the rule. Check out their offbeat programming around the holidays, when the crowds aren’t quite as crazy, and rekindle your movie love for the coming year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Movie theaters are crammed on Christmas Day, even in years without a \u003cem>Star Wars\u003c/em> merchandise tie-in playing on half the screens. The Scrooges among us cackle that people crave an escape from their families for a couple hours, even if it entails riding in the same car and sitting in the same row. Santa’s many helpers, on the other hand, note that the frenetic demands of December allow no time for a break until, well, the 25th day of the month.\u003c/p>\n\u003cp>Here are five enticements and encouragements to set everything aside and catch a movie before the crunch. If they all hearken to the past, well, remember that January offers ample time to catch up with the new films hoping to vie for Oscars.\u003c/p>\n\u003cfigure id=\"attachment_11123078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Janis640.jpg\" alt=\"Janis Joplin smoking a cigarette in Denmark.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Janis640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Janis640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janis Joplin smoking a cigarette in Denmark. \u003ccite>(Photo: Jan Persson/Courtesy of Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.roxie.com/ai1ec_event/janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">Janis: Little Girl Blue\u003c/a>\u003cbr>\nOpening Dec. 4 at the Roxie and Smith Rafael Film Center\u003c/b>\u003cbr>\nThe adoration of Janis Joplin had everything to do with the rawness and intensity she brought to the stage and the studio. It was easy to relate to the pain in her voice, and to appreciate the power of those pipes, but it was her gutsy, put-it-all-on-the-line-every-time ethos that galvanized her fans. (And peers like Mama Cass Elliot, caught in open-mouthed amazement in D.A. Pennebaker’s splendid \u003cem>Monterey Pop\u003c/em> as Janis rocked out.) Godforsaken Port Arthur, TX gave Janis her fuel and fury, but acid-washed San Francisco welcomed her wild-child spirit and provided collaborators like Big Brother and the Holding Company. That colorful slice of local history is the best part of \u003cem>Janis: Little Girl Blue\u003c/em>, Amy Berg’s feature-length documentary.\u003c/p>\n\u003cfigure id=\"attachment_11123079\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123079\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/GrimGame640.jpg\" alt=\"Harry Houdini in 'The Grim Game,' 1919.\" width=\"640\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/GrimGame640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/GrimGame640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harry Houdini in ‘The Grim Game,’ 1919. \u003ccite>(Courtesy: SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.silentfilm.org/homepage/whats-new/a-day-of-silents\" target=\"_blank\" rel=\"noopener\">A Day of Silents\u003c/a>\u003cbr>\nDec. 5 at the Castro\u003c/b>\u003cbr>\nI’ve spilled a lot of pixels over the years (and man, are they a drag to mop up — just ask Buster Keaton) alerting the uninitiated to the impeccable presentations of the San Francisco Silent Film Festival and the contemporary pleasures of pioneering cinema. The fest’s offseason endeavor, A Day of Silents, has something for everyone among its five programs, from Douglas Fairbanks swashbuckling across the deck of \u003cem>The Black Pirate\u003c/em> to Anna May Wong mesmerizing every male in \u003cem>Piccadilly\u003c/em>. Take a trip back in time with the archival compilation “Around China With a Movie Camera,” or savor Harry Houdini slipping his bonds to thwart upper-crust murderers in \u003cem>The Grim Game\u003c/em>. Whatever you do, don’t miss the breathtaking production design of \u003cem>The Inhuman Woman (L’Inhumaine)\u003c/em>, French director Marcel L’Herbier’s saga of a singer stung by scandal.\u003c/p>\n\u003cfigure id=\"attachment_11123080\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Thundercrack640.jpg\" alt=\"Still from 'Thundercrack!'\" width=\"640\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Thundercrack640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Thundercrack640-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Thundercrack!’ \u003ccite>(Courtesy: Castro Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">Thundercrack!\u003c/a>\u003cbr>\nDec. 11 at the Castro\u003c/strong>\u003cbr>\nCarol Doda’s passing last month reminded everyone with a 415 number that San Francisco characters — of any age — are an endangered species. We especially miss filmmaker and sexual rebel Curt McDowell and his mentor, filmmaker and devout eccentric George Kuchar. The perverse and dynamic duo leaps naked and beaming into the spotlight with two shows of the newly-restored director’s cut of their over-the-top underground epic \u003cem>Thundercrack!\u003c/em> Drag impresario Peaches Christ is the ringleader for what promises to be a wild and stormy night (you don’t need a weatherman to know the effect of graphic screen sex on Castro audiences) and an only-slightly-less-rambunctious matinee. This revival commemorates the film’s 40th anniversary, as well as Synapse Films’ imminent DVD release.\u003c/p>\n\u003cfigure id=\"attachment_11123081\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11123081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/NoirCity640.jpg\" alt=\"Noir City Xmas\" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NoirCity640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NoirCity640-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Noir City Xmas \u003ccite>(Courtesy Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">Noir City Xmas\u003c/a>\u003cbr>\nDec. 16 at the Castro\u003c/b>\u003cbr>\nNow that we’ve got the ’20s, ’60s and ’70s covered, we turn to the ’40s. With Noir City just over the horizon in January, idling like a Plymouth waiting for a gang of bank robbers to make its getaway, Eddie Muller and Co. proffer a cyanide-laced appetizer. Noir City Xmas delivers a double helping of squalid suspense, beginning with extortionist James Mason picking on housewife Joan Bennett in Max Ophuls’ creepy \u003cem>The Reckless Moment\u003c/em>. (Local filmmakers Scott McGehee and David Siegel adapted the same source novel for their chilly 2001 thriller, \u003cem>The Deep End\u003c/em>). Richard Widmark’s cracked performance as a wacko bird circling the unfortunate pigeon who fingered him to the cops has made \u003cem>Kiss of Death\u003c/em> justifiably famous. If a hard rain’s gonna fall this winter, let it be that night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener\">New Mission Opening\u003c/a>\u003cbr>\nDec. 17\u003c/strong>\u003cbr>\nFinally, the long-awaited, long-delayed opening of Austin-based Alamo Drafthouse’s San Francisco outpost. A fortuitous collision of the old and the new, the renovated and restored New Mission will offer art house fare buoyed with vintage genre, cult and classics series on weeknights. They did score the \u003cem>Star Wars\u003c/em> flick to launch things, but that kind of blockbuster will be the exception rather than the rule. Check out their offbeat programming around the holidays, when the crowds aren’t quite as crazy, and rekindle your movie love for the coming year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>America is nothing if not a joyfully gluttonous society. And while our nation's greatest minds make valiant strides toward detaching our desire to binge on crap from the \u003ca href=\"http://www.chicagotribune.com/business/ct-mcdonalds-breakfast-impact-1124-biz-20151125-story.html\" target=\"_blank\">previously vexing constraints of time and place\u003c/a>, certain foods are still tied inextricably to specific events.\u003c/p>\n\u003cp>For example: movie theater popcorn. Sure, you can make popcorn at home. Where but the movie theater, however, do you feel perfectly good about pressing a button and drenching your snack with a hot, chemical liquid that makes no claims to even remotely resemble butter, then absentmindedly shoving heaping, greasy fistfuls of the stuff into your face in public?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/fat-popcorn.jpg\">\u003cimg class=\"alignright wp-image-19243 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/fat-popcorn-400x533.jpg\" alt=\"fat-popcorn\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/fat-popcorn-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/fat-popcorn.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The good folks at \u003ca href=\"http://mentalfloss.com/\" target=\"_blank\">Mental Floss\u003c/a>, inquisitive fellows that they are, wanted to find out the origins of this Pavlovian response to setting foot inside a multiplex.\u003c/p>\n\u003cp>The result: In the latest episode of their Big Questions video series, host Craig Benzine reports that the pairing hasn't been around that long at all. In the 18th century, popcorn was a common treat associated with the circus and other \"lowbrow,\" outdoor entertainment venues. Movies, on the other hand, were more akin to live theater, the province of middle- to upper-class patrons of the arts. It wasn't until the Great Depression -- when the movie industry at large benefited from Americans' need for cheap, accessible distraction -- that popcorn vendors were allowed indoors, as long as they paid the theater owners a daily fee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flash forward 80 years later, and you find that movie theaters (which are struggling, thanks to the rise of at-home streaming as well as costly \u003ca href=\"http://www.rollingstone.com/movies/news/how-digital-conversion-is-killing-independent-movie-theaters-20130904\" target=\"_blank\">digital conversion expenses\u003c/a>) have come to rely on the buttery delight they previously shunned: According to Benzine, concessions currently account for 85 percent of theaters' profits nationally, and 40 percent of their total revenue.\u003c/p>\n\u003cp>\"That's not surprising at all,\" you're probably saying, wiping your mouth with the back of your hand, if you've somehow come up for air during a rare break from cramming the salty, addictive food of the gods down your gullet. \"This bucket cost $12.\"\u003c/p>\n\u003cp>The more you know!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y_KXPoO3FaE\u003c/p>\n\n",
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"excerpt": "...aside from \"because it's delicious.\" You already knew that. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America is nothing if not a joyfully gluttonous society. And while our nation's greatest minds make valiant strides toward detaching our desire to binge on crap from the \u003ca href=\"http://www.chicagotribune.com/business/ct-mcdonalds-breakfast-impact-1124-biz-20151125-story.html\" target=\"_blank\">previously vexing constraints of time and place\u003c/a>, certain foods are still tied inextricably to specific events.\u003c/p>\n\u003cp>For example: movie theater popcorn. Sure, you can make popcorn at home. Where but the movie theater, however, do you feel perfectly good about pressing a button and drenching your snack with a hot, chemical liquid that makes no claims to even remotely resemble butter, then absentmindedly shoving heaping, greasy fistfuls of the stuff into your face in public?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/fat-popcorn.jpg\">\u003cimg class=\"alignright wp-image-19243 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/fat-popcorn-400x533.jpg\" alt=\"fat-popcorn\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/fat-popcorn-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/fat-popcorn.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The good folks at \u003ca href=\"http://mentalfloss.com/\" target=\"_blank\">Mental Floss\u003c/a>, inquisitive fellows that they are, wanted to find out the origins of this Pavlovian response to setting foot inside a multiplex.\u003c/p>\n\u003cp>The result: In the latest episode of their Big Questions video series, host Craig Benzine reports that the pairing hasn't been around that long at all. In the 18th century, popcorn was a common treat associated with the circus and other \"lowbrow,\" outdoor entertainment venues. Movies, on the other hand, were more akin to live theater, the province of middle- to upper-class patrons of the arts. It wasn't until the Great Depression -- when the movie industry at large benefited from Americans' need for cheap, accessible distraction -- that popcorn vendors were allowed indoors, as long as they paid the theater owners a daily fee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flash forward 80 years later, and you find that movie theaters (which are struggling, thanks to the rise of at-home streaming as well as costly \u003ca href=\"http://www.rollingstone.com/movies/news/how-digital-conversion-is-killing-independent-movie-theaters-20130904\" target=\"_blank\">digital conversion expenses\u003c/a>) have come to rely on the buttery delight they previously shunned: According to Benzine, concessions currently account for 85 percent of theaters' profits nationally, and 40 percent of their total revenue.\u003c/p>\n\u003cp>\"That's not surprising at all,\" you're probably saying, wiping your mouth with the back of your hand, if you've somehow come up for air during a rare break from cramming the salty, addictive food of the gods down your gullet. \"This bucket cost $12.\"\u003c/p>\n\u003cp>The more you know!\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/Y_KXPoO3FaE'\n title='//www.youtube.com/embed/Y_KXPoO3FaE'\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": "Vital And Tear-Jerking, 'Creed' Is The Best Rocky Movie Since 'Rocky'",
"headTitle": "Vital And Tear-Jerking, ‘Creed’ Is The Best Rocky Movie Since ‘Rocky’ | KQED",
"content": "\u003cp>Remember \u003cem>Rocky?\u003c/em> That cornpone boxing movie from 40 years ago starring (and written by) that oiled-up, headband-wearing buffoon who talks funny? The one that stole Best Picture away from \u003cem>Network\u003c/em>, \u003cem>All the President’s Men\u003c/em>, \u003cem>Taxi Driver\u003c/em>, and Hal Ashby’s rather more obscure Woody Guthrie biopic \u003cem>Bound for Glory\u003c/em>?\u003c/p>\n\u003cp>Okay, on that last point, you’re technically correct; on the rest, you’re dead wrong. \u003cem>Rocky\u003c/em> is one of those movies that’s been retroactively devalued by its sequels. It’s somber and observant, more about the day-to-day of a shy Philadelphia hood with a crush on the girl at the pet store than about boxing for the first hour of its 119 minutes. Here’s the other thing you might not recall: Rocky \u003cem>loses\u003c/em> his fight with Apollo Creed at the end. He “merely” survives the 15-round crucible, proving to himself he’s not a coward or a quitter. Perhaps because of Bill Conti’s intrepid score, \u003cem> Rocky\u003c/em>‘s inspirational qualities have tended to overshadow its existential ones, but they’re equally vital.\u003c/p>\n\u003cp>Of its sequels, only 2006’s \u003cem>Rocky Balboa\u003c/em> had humility and brio in something like the same proportions as the original. Arriving 30 years after we first saw Rocky huff his way up the steps of the Philadelphia Museum of Art, it was a meditation on loss and mortality and raging against the dying of the light (though writer-director-star Sylvester Stallone was kind enough to leave Dylan Thomas unmentioned). As Rocky puts it in the marvelous new \u003cem>Creed\u003c/em>: “Time takes everybody out. Time’s undefeated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uv554B7YHk4\u003c/p>\n\u003cp>He’s speaking to Adonis Johnson (Michael B. Jordan), the illegitimate son of his opponent-turned-pal Apollo Creed, who died in the early rounds of 1985’s \u003cem>Rocky IV\u003c/em>. (You’re an educated person; surely you’ve seen these movies and read them in the original Greek.) In a prologue set in 1998, Creed’s well-off widow (Phylicia Rashad) rescues the combative young Adonis from a Los Angeles juvenile detention center and adopts him. In the present day, “Donny” is a college-educated man with a good job and a bright future. But he is his absentee father’s son, competing in unsanctioned fights in Mexico on the sly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he decides to go pro, he can’t get anyone to train him. The last 15 years of his life have been luxe; no one, including his adopted mom, thinks he’s hungry enough to survive in the ring. So he packs himself off to the City of Brotherly Love to look up Rocky. Donny never knew his old man, but so powerful is his craving for one that right away he’s calling Rocky “Unc,” as in Uncle — which feels about as natural as if he were addressing this old white dude he’s just met as “Italian Stallion.” (This is \u003cem>Creed\u003c/em>‘s hardest-to-swallow turn. If you can get past it, you’ll probably love the movie as much as I did.)\u003c/p>\n\u003cp>Rocky wants no part of this. When he’s not at the little Italian restaurant he named for his wife Adrian, who succumbed to cancer sometime after \u003cem>Rocky V\u003c/em>, he’s at the cemetery where she and his brother-in-law Paulie are buried, reading the paper aloud to their headstones. He’s at peace knowing his life will follow this humble pattern until it ends. But not \u003cem>completely\u003c/em> at peace, because — surprise! — eventually he agrees to give Donny a few tips.\u003c/p>\n\u003cp>You wonder if a similar lobbying campaign took place off-screen. This is the first \u003cem>Rocky\u003c/em> flick Stallone neither wrote nor directed. He’s entrusted his beloved creation to Ryan Coogler, the 29-year-old black filmmaker whose sole, stunning prior feature was \u003cem>Fruitvale Station\u003c/em>, a fact-based drama about the 2009 killing of an unarmed-and-handcuffed black man named Oscar Grant by a white police officer in Oakland, California. (Jordan played Grant.) At first glance, this looks like yet another case of a promising artist with a strong but still-developing voice getting drafted into the Franchise Wars…\u003c/p>\n\u003cp>…which I’d probably wring my hands over a whole lot more if \u003cem>Creed\u003c/em> were not so against-all-odds wonderful. It’s a warm-hearted, patient, unabashedly tear-jerking drama, one that gets its juice not from the training montages (though they’re stirring) or the bouts (though they’re convincingly performed and excitingly shot) but from the remarkable chemistry between Jordan and Stallone. Tessa Thompson is great, too, as a musician suffering from degenerative irony — sorry, I mean “gradual hearing loss.” But her nicely slow-moving courtship with Jordan is only the movie’s \u003cem>secondary\u003c/em> love affair.\u003c/p>\n\u003cp>Jordan is already much more famous than Stallone was when \u003cem>Rocky\u003c/em> snagged him a Best Actor nomination in 1976. His character, Donny, is handsome, educated, and brimming with confidence — Rocky’s opposite in every respect save for his drive to prove himself.\u003c/p>\n\u003cp>The alter ego that gave Stallone a career has always been the one that most resembles him offscreen. Just like Rocky Balboa, Stallone became a huge, unlikely star, but handled his success poorly. He allowed his vanity to speak louder than his talent. For a long time, he kept trying, writing and directing ambitious clunkers in between \u003cem>Rocky\u003c/em> and \u003cem>Rambo\u003c/em> sequels. But audiences never embraced his more challenging stuff. Eventually he threw up his hands and made only films he must’ve \u003cem>known\u003c/em> were garbage, for years on end.\u003c/p>\n\u003cp>While \u003cem>Creed\u003c/em> is not exactly Stallone’s \u003cem>Unforgiven\u003c/em>, it certainly benefits from the weariness and regret in his face, which somehow seems at last to have wrinkled away the strange uncanny-valley aspect of his appearance that has fueled so much speculation about plastic surgery. Whether the credit goes to the director or the actor or both, this is the performance of Stallone’s career, one in which that age-defying orange body stays covered up but his sadness is in full view.\u003c/p>\n\u003cp>While one hopes Coogler won’t stay in franchiseville after \u003cem>Creed,\u003c/em> he can feel good about having made an honorable, heart-tugging crowd-pleaser that should attract a more diverse crowd to the series while satisfying older fans with the best Rocky movie since \u003cem>Rocky\u003c/em>. The last half-year has seen films like \u003cem>Jurassic World\u003c/em>, \u003cem>Terminator: Genisys\u003c/em>, and \u003cem>Spectre\u003c/em> so busy paying homage to their forebears that any new tricks they might have get upstaged. Coogler perfectly threads the needle between innovation and reverence, keeping the familiar \u003cem>Rocky\u003c/em> signposts — the Conti theme, the training montages, those museum steps — present, but recontextualized.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He puts his own stamp on the series’ obligatory scenes with a training sequence that is almost a dance number, wherein neighborhood kids ride their motorbikes and four-wheelers alongside Donny as he’s running. They form a circle around him as he leaps into the air, imagining his victory. There’s a lot of movie left after this, but the emotional climax is right here. They’ve always peaked early, these \u003cem>Rocky\u003c/em> pictures; with \u003cem>Creed\u003c/em>, the series peaks again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember \u003cem>Rocky?\u003c/em> That cornpone boxing movie from 40 years ago starring (and written by) that oiled-up, headband-wearing buffoon who talks funny? The one that stole Best Picture away from \u003cem>Network\u003c/em>, \u003cem>All the President’s Men\u003c/em>, \u003cem>Taxi Driver\u003c/em>, and Hal Ashby’s rather more obscure Woody Guthrie biopic \u003cem>Bound for Glory\u003c/em>?\u003c/p>\n\u003cp>Okay, on that last point, you’re technically correct; on the rest, you’re dead wrong. \u003cem>Rocky\u003c/em> is one of those movies that’s been retroactively devalued by its sequels. It’s somber and observant, more about the day-to-day of a shy Philadelphia hood with a crush on the girl at the pet store than about boxing for the first hour of its 119 minutes. Here’s the other thing you might not recall: Rocky \u003cem>loses\u003c/em> his fight with Apollo Creed at the end. He “merely” survives the 15-round crucible, proving to himself he’s not a coward or a quitter. Perhaps because of Bill Conti’s intrepid score, \u003cem> Rocky\u003c/em>‘s inspirational qualities have tended to overshadow its existential ones, but they’re equally vital.\u003c/p>\n\u003cp>Of its sequels, only 2006’s \u003cem>Rocky Balboa\u003c/em> had humility and brio in something like the same proportions as the original. Arriving 30 years after we first saw Rocky huff his way up the steps of the Philadelphia Museum of Art, it was a meditation on loss and mortality and raging against the dying of the light (though writer-director-star Sylvester Stallone was kind enough to leave Dylan Thomas unmentioned). As Rocky puts it in the marvelous new \u003cem>Creed\u003c/em>: “Time takes everybody out. Time’s undefeated.”\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/Uv554B7YHk4'\n title='//www.youtube.com/embed/Uv554B7YHk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s speaking to Adonis Johnson (Michael B. Jordan), the illegitimate son of his opponent-turned-pal Apollo Creed, who died in the early rounds of 1985’s \u003cem>Rocky IV\u003c/em>. (You’re an educated person; surely you’ve seen these movies and read them in the original Greek.) In a prologue set in 1998, Creed’s well-off widow (Phylicia Rashad) rescues the combative young Adonis from a Los Angeles juvenile detention center and adopts him. In the present day, “Donny” is a college-educated man with a good job and a bright future. But he is his absentee father’s son, competing in unsanctioned fights in Mexico on the sly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he decides to go pro, he can’t get anyone to train him. The last 15 years of his life have been luxe; no one, including his adopted mom, thinks he’s hungry enough to survive in the ring. So he packs himself off to the City of Brotherly Love to look up Rocky. Donny never knew his old man, but so powerful is his craving for one that right away he’s calling Rocky “Unc,” as in Uncle — which feels about as natural as if he were addressing this old white dude he’s just met as “Italian Stallion.” (This is \u003cem>Creed\u003c/em>‘s hardest-to-swallow turn. If you can get past it, you’ll probably love the movie as much as I did.)\u003c/p>\n\u003cp>Rocky wants no part of this. When he’s not at the little Italian restaurant he named for his wife Adrian, who succumbed to cancer sometime after \u003cem>Rocky V\u003c/em>, he’s at the cemetery where she and his brother-in-law Paulie are buried, reading the paper aloud to their headstones. He’s at peace knowing his life will follow this humble pattern until it ends. But not \u003cem>completely\u003c/em> at peace, because — surprise! — eventually he agrees to give Donny a few tips.\u003c/p>\n\u003cp>You wonder if a similar lobbying campaign took place off-screen. This is the first \u003cem>Rocky\u003c/em> flick Stallone neither wrote nor directed. He’s entrusted his beloved creation to Ryan Coogler, the 29-year-old black filmmaker whose sole, stunning prior feature was \u003cem>Fruitvale Station\u003c/em>, a fact-based drama about the 2009 killing of an unarmed-and-handcuffed black man named Oscar Grant by a white police officer in Oakland, California. (Jordan played Grant.) At first glance, this looks like yet another case of a promising artist with a strong but still-developing voice getting drafted into the Franchise Wars…\u003c/p>\n\u003cp>…which I’d probably wring my hands over a whole lot more if \u003cem>Creed\u003c/em> were not so against-all-odds wonderful. It’s a warm-hearted, patient, unabashedly tear-jerking drama, one that gets its juice not from the training montages (though they’re stirring) or the bouts (though they’re convincingly performed and excitingly shot) but from the remarkable chemistry between Jordan and Stallone. Tessa Thompson is great, too, as a musician suffering from degenerative irony — sorry, I mean “gradual hearing loss.” But her nicely slow-moving courtship with Jordan is only the movie’s \u003cem>secondary\u003c/em> love affair.\u003c/p>\n\u003cp>Jordan is already much more famous than Stallone was when \u003cem>Rocky\u003c/em> snagged him a Best Actor nomination in 1976. His character, Donny, is handsome, educated, and brimming with confidence — Rocky’s opposite in every respect save for his drive to prove himself.\u003c/p>\n\u003cp>The alter ego that gave Stallone a career has always been the one that most resembles him offscreen. Just like Rocky Balboa, Stallone became a huge, unlikely star, but handled his success poorly. He allowed his vanity to speak louder than his talent. For a long time, he kept trying, writing and directing ambitious clunkers in between \u003cem>Rocky\u003c/em> and \u003cem>Rambo\u003c/em> sequels. But audiences never embraced his more challenging stuff. Eventually he threw up his hands and made only films he must’ve \u003cem>known\u003c/em> were garbage, for years on end.\u003c/p>\n\u003cp>While \u003cem>Creed\u003c/em> is not exactly Stallone’s \u003cem>Unforgiven\u003c/em>, it certainly benefits from the weariness and regret in his face, which somehow seems at last to have wrinkled away the strange uncanny-valley aspect of his appearance that has fueled so much speculation about plastic surgery. Whether the credit goes to the director or the actor or both, this is the performance of Stallone’s career, one in which that age-defying orange body stays covered up but his sadness is in full view.\u003c/p>\n\u003cp>While one hopes Coogler won’t stay in franchiseville after \u003cem>Creed,\u003c/em> he can feel good about having made an honorable, heart-tugging crowd-pleaser that should attract a more diverse crowd to the series while satisfying older fans with the best Rocky movie since \u003cem>Rocky\u003c/em>. The last half-year has seen films like \u003cem>Jurassic World\u003c/em>, \u003cem>Terminator: Genisys\u003c/em>, and \u003cem>Spectre\u003c/em> so busy paying homage to their forebears that any new tricks they might have get upstaged. Coogler perfectly threads the needle between innovation and reverence, keeping the familiar \u003cem>Rocky\u003c/em> signposts — the Conti theme, the training montages, those museum steps — present, but recontextualized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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>Are your folks, kids or significant others driving you crazy this holiday season? You’re not alone!\u003cbr>\nLean back and enjoy other people’s problem with our collection of short films on family DRAMAAA.\u003cbr>\nLet schadenfreude give you the gift of renewed appreciation for your family \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/11/25/14-shorts-to-get-you-through-family-dramaaa/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/11/25/14-shorts-to-get-you-through-family-dramaaa/\" target=\"_blank\" title=\"14 Shorts to Get You Through Family DRAMAAA!\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Are your folks, kids or significant others driving you crazy this holiday season? You’re not alone!\u003cbr>\nLean back and enjoy other people’s problem with our collection of short films on family DRAMAAA.\u003cbr>\nLet schadenfreude give you the gift of renewed appreciation for your family \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/11/25/14-shorts-to-get-you-through-family-dramaaa/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/11/25/14-shorts-to-get-you-through-family-dramaaa/\" target=\"_blank\" title=\"14 Shorts to Get You Through Family DRAMAAA!\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Wonders' Explores a Land not Quite of Milk and Honey",
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"content": "\u003cp>\u003ci>The Wonders\u003c/i>, Alice Rohrwacher’s second feature-length film, is ostensibly about a family of beekeepers in rural Tuscany struggling to make ends meet. But it’s also about fathers and daughters, reality television, idealized traditions and the loss of those ideals, with a cameo appearance by a grumpy camel.\u003c/p>\n\u003cp>Starring newcomer Maria Alexandra Lungu as Gelsomina, the eldest in a family of four daughters (a situation their German father, Wolfgang, gets endless grief over in their small community), \u003ci>The Wonders\u003c/i> is quiet and lush, hovering between naturalism and supernaturalism. Twelve-year-old Gelsomina is the most skilled beekeeper in their operation, catching wild swarms, carting the hives to local fields, scraping down the honeycomb and keeping her watchful eye on the buckets filling with golden honey.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S-N5ym6Q87U\u003c/p>\n\u003cp>The family is committed to maintaining a certain type of lifestyle — free of heavy machinery, sanitation codes or child labor laws (though Rohrwacher doesn’t shy away from underscoring the danger of shirking such constraints). But it’s clear that the parents and a live-in friend have chosen this lifestyle, rather than grown up within it. They distrust the outside world. Their often pants-less father, especially, is determined to prove that the decision to leave that world was the right one. Played by Flemish actor and dancer Sam Louwyk, Wolfgang throws out an absurd platitude that seems to sum up his beliefs: “Pizzas aren’t planted.”\u003c/p>\n\u003cp>The trouble is, as Italian wife and mother Angelica (played by the filmmaker’s own sister, Alba Rohrwacher) points out to her husband, they’re failing. Hushed conversations behind closed doors allow Gelsomina to fully grasp her family’s dire economic situation. They work hard, but it’s not enough.\u003c/p>\n\u003cfigure id=\"attachment_11109959\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/BeesB640.jpg\" alt=\"Maria Alexandra Lungu as Gelsomina in 'The Wonders.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11109959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BeesB640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BeesB640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maria Alexandra Lungu as Gelsomina in ‘The Wonders.’ \u003ccite>(Courtesy: Oscilloscope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the family’s proximity to poverty, Rohrwacher’s scenes of the countryside are bathed in golden light — it’s no wonder Wolfgang and Angelica chose to make a life here. The time period is present, but there are none of the distractions of modernity: just the land, animals and labor. This is where Rohrwacher herself grew up, the product of a similarly cross-cultural family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is Gelsomina’s coming of age story, so while she carries responsibility and adult concerns, Rohrwacher also portrays her alongside her sisters, as a band of children. They hide under the covers when called to work, eat the vegetables they’re supposed to pick and splash around raucously in a rare moment of play with their father.\u003c/p>\n\u003cp>In that moment, they stumble across the filming of \u003cem>Countryside Wonders\u003c/em>, a television show hosted by the fairy-like and incredibly glamorous figure of Milly Cantena (played by Monica Belluci). The show is to be a competition between local families pursuing the Etruscan traditions of the forebears. Gelsomina is bewitched — by the hostess’ otherworldly beauty and the promise of a cash prize, the possible salvation of her family.\u003c/p>\n\u003cfigure id=\"attachment_11109960\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Belluci640.jpg\" alt=\"Monica Belluci as Milly Cantena in 'The Wonders.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11109960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Belluci640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Belluci640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Monica Belluci as Milly Cantena in ‘The Wonders.’ \u003ccite>(Courtesy: Oscilloscope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Wolfgang is adamantly against entering the competition — a threat to both his authority and pride — he decides to take in a juvenile delinquent in a police-mandated rural reeducation program for the promise of extra funds. Equally stubborn, Gelsomina signs the family up for the show anyway.\u003c/p>\n\u003cp>The silent, likely traumatized 14-year-old delinquent intrigues Gelsomina, but what could have become a routine story of young love never takes shape. Instead, Rohrwacher veers into the realm of magic realism, bringing in the aforementioned camel, transporting the locals to an island necropolis and dressing them up in sequined fabrics and gold lamé, like Etruscans in a Las Vegas attraction. \u003c/p>\n\u003cp>As \u003ci>The Wonders\u003c/i> shifts from natural to increasingly surreal scenes, Gelsomina quietly transforms as well, proving that the sometimes painful process of trading in old dreams for new ones doesn’t mean that all is forever lost — especially when you have family.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Wonders’ opens Nov. 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck in Berkeley, Camera 3 in San Jose and the Rafael Film Center in San Rafael\u003c/em>. \u003c/p>\n\n",
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"excerpt": "Alice Rohrwacher's 'The Wonders' follows a family of beekeepers in rural Tuscany in this story of lost ideals.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>The Wonders\u003c/i>, Alice Rohrwacher’s second feature-length film, is ostensibly about a family of beekeepers in rural Tuscany struggling to make ends meet. But it’s also about fathers and daughters, reality television, idealized traditions and the loss of those ideals, with a cameo appearance by a grumpy camel.\u003c/p>\n\u003cp>Starring newcomer Maria Alexandra Lungu as Gelsomina, the eldest in a family of four daughters (a situation their German father, Wolfgang, gets endless grief over in their small community), \u003ci>The Wonders\u003c/i> is quiet and lush, hovering between naturalism and supernaturalism. Twelve-year-old Gelsomina is the most skilled beekeeper in their operation, catching wild swarms, carting the hives to local fields, scraping down the honeycomb and keeping her watchful eye on the buckets filling with golden honey.\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/S-N5ym6Q87U'\n title='//www.youtube.com/embed/S-N5ym6Q87U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The family is committed to maintaining a certain type of lifestyle — free of heavy machinery, sanitation codes or child labor laws (though Rohrwacher doesn’t shy away from underscoring the danger of shirking such constraints). But it’s clear that the parents and a live-in friend have chosen this lifestyle, rather than grown up within it. They distrust the outside world. Their often pants-less father, especially, is determined to prove that the decision to leave that world was the right one. Played by Flemish actor and dancer Sam Louwyk, Wolfgang throws out an absurd platitude that seems to sum up his beliefs: “Pizzas aren’t planted.”\u003c/p>\n\u003cp>The trouble is, as Italian wife and mother Angelica (played by the filmmaker’s own sister, Alba Rohrwacher) points out to her husband, they’re failing. Hushed conversations behind closed doors allow Gelsomina to fully grasp her family’s dire economic situation. They work hard, but it’s not enough.\u003c/p>\n\u003cfigure id=\"attachment_11109959\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/BeesB640.jpg\" alt=\"Maria Alexandra Lungu as Gelsomina in 'The Wonders.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11109959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BeesB640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BeesB640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maria Alexandra Lungu as Gelsomina in ‘The Wonders.’ \u003ccite>(Courtesy: Oscilloscope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the family’s proximity to poverty, Rohrwacher’s scenes of the countryside are bathed in golden light — it’s no wonder Wolfgang and Angelica chose to make a life here. The time period is present, but there are none of the distractions of modernity: just the land, animals and labor. This is where Rohrwacher herself grew up, the product of a similarly cross-cultural family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is Gelsomina’s coming of age story, so while she carries responsibility and adult concerns, Rohrwacher also portrays her alongside her sisters, as a band of children. They hide under the covers when called to work, eat the vegetables they’re supposed to pick and splash around raucously in a rare moment of play with their father.\u003c/p>\n\u003cp>In that moment, they stumble across the filming of \u003cem>Countryside Wonders\u003c/em>, a television show hosted by the fairy-like and incredibly glamorous figure of Milly Cantena (played by Monica Belluci). The show is to be a competition between local families pursuing the Etruscan traditions of the forebears. Gelsomina is bewitched — by the hostess’ otherworldly beauty and the promise of a cash prize, the possible salvation of her family.\u003c/p>\n\u003cfigure id=\"attachment_11109960\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Belluci640.jpg\" alt=\"Monica Belluci as Milly Cantena in 'The Wonders.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11109960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Belluci640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Belluci640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Monica Belluci as Milly Cantena in ‘The Wonders.’ \u003ccite>(Courtesy: Oscilloscope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Wolfgang is adamantly against entering the competition — a threat to both his authority and pride — he decides to take in a juvenile delinquent in a police-mandated rural reeducation program for the promise of extra funds. Equally stubborn, Gelsomina signs the family up for the show anyway.\u003c/p>\n\u003cp>The silent, likely traumatized 14-year-old delinquent intrigues Gelsomina, but what could have become a routine story of young love never takes shape. Instead, Rohrwacher veers into the realm of magic realism, bringing in the aforementioned camel, transporting the locals to an island necropolis and dressing them up in sequined fabrics and gold lamé, like Etruscans in a Las Vegas attraction. \u003c/p>\n\u003cp>As \u003ci>The Wonders\u003c/i> shifts from natural to increasingly surreal scenes, Gelsomina quietly transforms as well, proving that the sometimes painful process of trading in old dreams for new ones doesn’t mean that all is forever lost — especially when you have family.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Wonders’ opens Nov. 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck in Berkeley, Camera 3 in San Jose and the Rafael Film Center in San Rafael\u003c/em>. \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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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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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"tagline": "Politics from a personal perspective",
"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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"title": "Possible",
"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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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"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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},
"science-friday": {
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