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"content": "\u003cp>Maryam Masud has been drawing and doodling ever since she was a kid. And people are starting to take notice, thanks to her most recent series, \u003cem>\u003ca href=\"http://mozzified.com/2015/10/18/9-disney-princesses-reinterpreted-as-hijabi-2/\" target=\"_blank\">Colors of Islam\u003c/a>\u003c/em>, which imagines Disney characters wearing the hijab. A sort of surprising project, considering her Bangladeshi parents didn't want her watching too much Disney growing up.\u003c/p>\n\u003cfigure id=\"attachment_18910\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM.png\">\u003cimg class=\"wp-image-18910 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM-400x409.png\" alt=\"Artist, Maryam Masud\" width=\"400\" height=\"409\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM-400x409.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM-800x817.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM-960x981.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/Screen-Shot-2015-11-03-at-2.17.44-PM.png 1116w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Maryam Masud\u003c/figcaption>\u003c/figure>\n\u003cp>“[Disney movies] have a lot of messages that are subtle and are not exactly how people should be portrayed,” Masud says. “It's not like [my parents] stopped us from watching it if we wanted to, it was that they didn't necessarily encourage it.” This led Masud to other forms of entertainment such as Japanese anime.\u003c/p>\n\u003cp>As she learned about \u003ca href=\"http://ww2.kqed.org/pop/2015/10/28/subverting-gender-norms-through-cosplay-at-santa-rosas-toy-con/\" target=\"_blank\">cosplay culture\u003c/a>, Masud saw a lack of characters she could easily dress as. Many characters were white males, or women with a specific style of dress or physique. \u003cem>Colors of Islam \u003c/em>is her attempt at\u003cem> \u003c/em>remedying that exclusion by opening up the world of Disney.\u003c/p>\n\u003cp>Masud knows her characters extremely well. She can discuss them or the merits of \u003cem>Tangled\u003c/em> versus \u003cem>Frozen\u003c/em> at length. “People forget that Rapunzel is an astronomer. She's a fashion designer, a cook and a baker… She's a scholar.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/hijab-disney.png\">\u003cimg class=\"alignleft size-thumbnail wp-image-19040\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/hijab-disney-400x382.png\" alt=\"hijab-disney\" width=\"400\" height=\"382\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/hijab-disney-400x382.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/hijab-disney-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/hijab-disney.png 574w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Overall, Masud wants to preserve each character's essence. “Their character description is the exact same as it was, we're just adding the word Muslim to it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It's up to the audience to think about the implications. “How does the word Muslim change the stories? Will they behave differently in society? How would society perceive them and how would their stories change?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She sees her work as a character re-interpretation that allows others to create their own stories. “I want every single person who looks at these pictures to reclaim it for themselves.”\u003c/p>\n\n",
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"content": "\u003cp>Hours after launching a Kickstarter campaign to revive a TV show that made it fun to watch horrible movies, \u003cem>Mystery Science Theater 3000\u003c/em> creator Joel Hodgson has raised more than $500,000 — a quarter of his $2 million goal.\u003c/p>\n\u003cp>If the fundraising campaign is successful, the \u003cem>Mystery Science Theater\u003c/em> team could start a new run of up to 12 feature-length episodes next July, depending on the amount of donations over the next month.\u003c/p>\n\u003cp>From \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\" rel=\"noopener\">Hodgson’s Kickstarter pitch\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Our show has had a long, strange run. Across a UHF channel, a cable network, cancellation, a feature film, then another cable network, the show lasted for 12 years, two generations of hosts and puppeteers, 2 Emmy nominations and a total of 197 episodes before we got canceled again ‘for good’ in 1999. Sadly, it was just as Prince predicted.\u003c/p>\n\u003cp>“But maybe that’s not where it all ends.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Known as MST3K, Hodgson’s show was famous for riffing on anything that happened on screen, from an unusual name in a film’s credits to clunky dialogue or unlikely filmmaking choices.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nrlMibryPLY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Citing the rise of riffing among TV viewers, Hodgson says, “sometimes it feels good to just sit back and watch the original movie riffing team take a whack at it.”\u003c/p>\n\u003cp>The push for a new season comes two years after the folks behind \u003cem>Mystery Science Theater 3000\u003c/em> released a 25th-anniversary DVD set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On that occasion, here’s how \u003ca href=\"http://www.npr.org/sections/monkeysee/2013/11/27/247520996/about-mystery-science-theater-a-bold-declaration-its-bold\" target=\"_blank\" rel=\"noopener\">NPR’s Monkey See blog\u003c/a> explained the show’s premise:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Mystery Science Theater 3000\u003c/em> was early performative badmouthing of old movies, long before we had Twitter to make fun of \u003cem>Scandal.\u003c/em> The gimmick was that Joel had been shot into space with nothing but old movies to entertain him, so he built wisecracking robots out of spare parts and they all watched and mocked movies together. (It’s not as sophisticated as it sounds.)”\u003c/p>\n\u003c/blockquote>\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=%27Mystery+Science+Theater+3000%27+Creator+Raises+%24500K+Toward+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Gunnar Hansen, who played the iconic villain Leatherface in the original \u003cem>Texas Chain Saw Massacre\u003c/em>, died Saturday of pancreatic cancer at his home in Maine, his agent said. He was 68.\u003c/p>\n\u003cp>Hansen starred in the 1974 film that has become a classic among horror-movie aficionados and spawned a series of sequels. In the movie, friends visiting their grandfather’s house are hunted by Leatherface, a chain-saw wielding maniac.\u003c/p>\n\u003cp>Hansen’s character in the movie “is one of the most iconic evil figures in the history of cinema,” said his agent, Mike Eisenstadt, who confirmed the death.\u003c/p>\n\u003cfigure id=\"attachment_11070163\" class=\"wp-caption alignright\" style=\"max-width: 435px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/leatherface-new-line-cinema.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/leatherface-new-line-cinema.jpg\" alt=\"Gunnar Hansen as Leatherface\" width=\"435\" height=\"580\" class=\"size-full wp-image-11070163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/leatherface-new-line-cinema.jpg 435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/leatherface-new-line-cinema-400x533.jpg 400w\" sizes=\"(max-width: 435px) 100vw, 435px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gunnar Hansen as Leatherface \u003ccite>(Courtesy: New Line Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Hansen published his book \u003cem>Chain Saw Confidential,\u003c/em> which gave readers a behind-the-scenes look at how the film was made, Eisenstadt said.\u003c/p>\n\u003cp>Hansen lived in Maine for about 40 years, where he worked as an actor and writer, Eisenstadt said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the time of his death, Hansen was at work on a film called \u003cem>Death House\u003c/em>, his agent said. Hansen was a writer and producer of the film, which the \u003ca href=\"http://www.imdb.com/\" target=\"_blank\" rel=\"noopener\">Internet Movie Database \u003c/a>says is about how a secret government facility becomes ground zero for the most horrific prison break in the history of mankind. The film is scheduled to come out next year, Eisenstadt said.\u003c/p>\n\u003cp>Hansen was born in Reykjavik, Iceland. He came to the U.S. and studied at the University of Texas, where he majored in English and Scandinavian Studies, Eisenstadt said.\u003c/p>\n\u003cp>Surviving Hansen is his partner of 13 years, Betty Tower.\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>Spectre\u003c/em> opens in Mexico City — a Day of the Dead festival in full swing — streets crowded with partying skeletons, and director Sam Mendes celebrating the dead in his own way with a nifty Orson Welles tribute: A \u003cem>Touch of Evil\u003c/em>-style tracking shot that has no obvious edits for at least five minutes as it follows Bond (Daniel Craig) and a gorgeous brunette (Stephanie Sigman) from the costumed parade route into a hotel, up in a crowded elevator to a well-appointed room where she settles seductively on a bed — only to watch him zip out onto a roof ledge with a quick shirt cuff adjustment, and murder on his mind.\u003c/p>\n\u003cp>At some point, the director starts cutting as 007 dispatches bad guys, collapses buildings, and wrestles with a villain in a suddenly pilotless, upside-down helicopter. As showoff-y starts go, this one ranks with the best in the series. And if the prize Bond is after — a ring with an octopus-y Spectre symbol — seems kind of minor for all that mayhem, it does lead nicely into the film’s titles, Sam Smith’s melody-challenged, but suitably sultry “Writing’s on the Wall” backed by gorgeous women writhing with octopus tentacles, bullets trailing inky jets. It’s everything a Bond fan could wish, and then some.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwZCrR72_6k\u003c/p>\n\u003cp>Which seems to be the operating aesthetic this time out: everything you could wish, and then some, for an epically overstuffed 2 hours and 28 minutes. Enough time to pack in a whole bunch of bad guys from pencil pushers to bodybuilders to Christoph Waltz, an extravagance of exotic locales, from Moroccan meteor craters to a Rome-the-eternal-city that feels like a racetrack with palazzos, and — of course — a bevy of beauties, who do what Bond beauties do.\u003c/p>\n\u003cp>Monica Belluci, whom Bond divests of widow’s weeds as he’s introducing himself as “Bond, James Bond,” is easily the most compelling (though she’s accorded the least screen time). Petulant, obstreperous shrink Léa Seydoux may be the least compelling (perhaps because she’s accorded the most screen time).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We are not, in other words, tilling a lot of new ground in \u003cem>Spectre\u003c/em>. In fact, the screenplay is pretty consciously tilling old ground, with shout-outs to all three of Craig’s 007 movies, and also to those of his predecessors, including a compartment-smashing fistfight on a train that echoes camera angles and even a couple of Sean Connery’s punches from \u003cem>From Russia With Love\u003c/em>. (For more on the shout-outs to earlier 007 exploits, check out my colleague Chris Klimek’s \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=453959502\" target=\"_blank\" rel=\"noopener\">ruminations\u003c/a>.)\u003c/p>\n\u003cp>There are hints that the filmmakers aren’t just going for nostalgia but would also like to be of the moment — talk of “smart blood,” drones and online surveillance to drive the plot — but none of it feels especially urgent, even when red digital readouts are counting down to imminent explosions.\u003c/p>\n\u003cp>It might feel more urgent if the writing were tighter. But I suppose if you have lots of villains, locales, homages and explosions, it’s only natural to have lots of words. Naomie Harris’ dutiful Miss Moneypenny, for instance, says early on, “You’ve got a secret” and should really leave it there. Instead she continues with “something you can’t tell anyone because you don’t trust anyone,” an explanation so unnecessary you half expect Bond to call her on it.\u003c/p>\n\u003cp>He, however, is too busy being tortured by Waltz, dressed down by new “M” Ralph Fiennes, dressed up by costumer Jany Temime in form-fitting formal wear, and put through his sharply staged and shot action-hero paces by the director.\u003c/p>\n\u003cp>They are familiar paces — how could they not be the two-dozenth time — updated for different cities, different women, different tuxes. And fans will doubtless find them pleasantly diverting, though even the most rabid will have to concede there’s been a falloff in emotional resonance since Bond’s last outing. In that one, this same director, star and writing team (augmented here by writer Jez Butterworth) managed to outfit the action with all sorts of feeling — feeling that made \u003cem>Skyfall\u003c/em> feel more substantial than most Bond pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which perhaps set expectations unreasonably high for this installment. It remains a decently robust and entertaining midlevel Bond movie — just one that’s haunted by the specter of its predecessor.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Spectre\u003c/em> opens in Mexico City — a Day of the Dead festival in full swing — streets crowded with partying skeletons, and director Sam Mendes celebrating the dead in his own way with a nifty Orson Welles tribute: A \u003cem>Touch of Evil\u003c/em>-style tracking shot that has no obvious edits for at least five minutes as it follows Bond (Daniel Craig) and a gorgeous brunette (Stephanie Sigman) from the costumed parade route into a hotel, up in a crowded elevator to a well-appointed room where she settles seductively on a bed — only to watch him zip out onto a roof ledge with a quick shirt cuff adjustment, and murder on his mind.\u003c/p>\n\u003cp>At some point, the director starts cutting as 007 dispatches bad guys, collapses buildings, and wrestles with a villain in a suddenly pilotless, upside-down helicopter. As showoff-y starts go, this one ranks with the best in the series. And if the prize Bond is after — a ring with an octopus-y Spectre symbol — seems kind of minor for all that mayhem, it does lead nicely into the film’s titles, Sam Smith’s melody-challenged, but suitably sultry “Writing’s on the Wall” backed by gorgeous women writhing with octopus tentacles, bullets trailing inky jets. It’s everything a Bond fan could wish, and then some.\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/PwZCrR72_6k'\n title='//www.youtube.com/embed/PwZCrR72_6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which seems to be the operating aesthetic this time out: everything you could wish, and then some, for an epically overstuffed 2 hours and 28 minutes. Enough time to pack in a whole bunch of bad guys from pencil pushers to bodybuilders to Christoph Waltz, an extravagance of exotic locales, from Moroccan meteor craters to a Rome-the-eternal-city that feels like a racetrack with palazzos, and — of course — a bevy of beauties, who do what Bond beauties do.\u003c/p>\n\u003cp>Monica Belluci, whom Bond divests of widow’s weeds as he’s introducing himself as “Bond, James Bond,” is easily the most compelling (though she’s accorded the least screen time). Petulant, obstreperous shrink Léa Seydoux may be the least compelling (perhaps because she’s accorded the most screen time).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We are not, in other words, tilling a lot of new ground in \u003cem>Spectre\u003c/em>. In fact, the screenplay is pretty consciously tilling old ground, with shout-outs to all three of Craig’s 007 movies, and also to those of his predecessors, including a compartment-smashing fistfight on a train that echoes camera angles and even a couple of Sean Connery’s punches from \u003cem>From Russia With Love\u003c/em>. (For more on the shout-outs to earlier 007 exploits, check out my colleague Chris Klimek’s \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=453959502\" target=\"_blank\" rel=\"noopener\">ruminations\u003c/a>.)\u003c/p>\n\u003cp>There are hints that the filmmakers aren’t just going for nostalgia but would also like to be of the moment — talk of “smart blood,” drones and online surveillance to drive the plot — but none of it feels especially urgent, even when red digital readouts are counting down to imminent explosions.\u003c/p>\n\u003cp>It might feel more urgent if the writing were tighter. But I suppose if you have lots of villains, locales, homages and explosions, it’s only natural to have lots of words. Naomie Harris’ dutiful Miss Moneypenny, for instance, says early on, “You’ve got a secret” and should really leave it there. Instead she continues with “something you can’t tell anyone because you don’t trust anyone,” an explanation so unnecessary you half expect Bond to call her on it.\u003c/p>\n\u003cp>He, however, is too busy being tortured by Waltz, dressed down by new “M” Ralph Fiennes, dressed up by costumer Jany Temime in form-fitting formal wear, and put through his sharply staged and shot action-hero paces by the director.\u003c/p>\n\u003cp>They are familiar paces — how could they not be the two-dozenth time — updated for different cities, different women, different tuxes. And fans will doubtless find them pleasantly diverting, though even the most rabid will have to concede there’s been a falloff in emotional resonance since Bond’s last outing. In that one, this same director, star and writing team (augmented here by writer Jez Butterworth) managed to outfit the action with all sorts of feeling — feeling that made \u003cem>Skyfall\u003c/em> feel more substantial than most Bond pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which perhaps set expectations unreasonably high for this installment. It remains a decently robust and entertaining midlevel Bond movie — just one that’s haunted by the specter of its predecessor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Okay, let’s get this out of the way: The most important thing to do today costs absolutely nothing, and is really, really vital if you’re a San Francisco resident. \u003ca href=\"http://sfelections.org/tools/pollsite/\" target=\"_blank\" rel=\"noopener\">Vote! \u003c/a>Many polling places are open until 8 p.m., so you really don’t have an excuse.\u003c/p>\n\u003cp>Now that you’ve done that, here’s a hefty handful of events all over the Bay at which you can celebrate your civic duty — or just have a good time — for $20 or under. Without further ado, here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\">Hippy Mobb: A-Plus & Knowbody (Grow Theory), Equipto & Otayo Dubb at the New Parish, Oakland. \u003c/a>\u003c/strong>SF rapper Equipto made headlines recently for approaching Mayor Ed Lee in a diner with some none-too-sugarcoated opinions about the politician’s track record with working- and middle-class folks over the past few years. But his crew, Hippy Mobb, has been on the lips of those in the know for more than two decades. A-Plus brings cred from a different beloved crew, the Souls of Mischief/Hieroglyphics family of East Bay MCs and beat-makers. This is a low-key hometown hip-hop celebration.\u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\"> $8 – $12; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Vetiver at Sweetwater Music Hall, Mill Valley. \u003c/a>\u003c/strong>The brainchild and ever-evolving musical output of singer-songwriter-musician-producer Andy Cabic, Vetiver’s one of those San Francisco bands that will never put on the same show twice, so you can plan on not being bored, to say the least. \u003cem>Complete Strangers\u003c/em>, Cabic’s latest record, skips from melancholy indie-folk to tropicalia to power pop. As he wrote when announcing the album: “It feels like someone I’ve just met yet known for a long time.” \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">$20; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 6: \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">\u003cem>First Friday\u003c/em> at the New Parkway, Oakland. \u003c/a>“\u003c/strong>In the same year, Oakland was rated one of the top five destinations in the world and one of the top five most dangerous cities in the country. On Feb. 1, 2013 those two realities met with the fatal shooting of a teenager during First Friday, a monthly arts festival that has become the symbol of the city’s economic and cultural revival. \u003cem>First Friday\u003c/em> follows a diverse group of residents as they work to preserve the event that represents a city’s attempt to transform itself.” A Q&A with filmmakers N’Jeri Eaton and Mario Furloni will follow. \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">$10; details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Real Future Fair, SF. \u003c/a>\u003c/strong>This weekend-long festival brings together some of the most visionary minds in science and technology, talking about where the next century is poised to take us. Tickets to many sessions are on the pricey-end, but this day-long event is free, family-friendly and open to the public. Featured events include drone demonstrations by the Aerial Sports League, a robot petting zoo, the Oddball Failed Futures Film Festival, and presentations by Dorkbot, the Bay Area Video Coalition and The Long Now. \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">Dirty Ghosts, Useless Eaters and Kelley Stoltz at Brick and Mortar Music Hall, SF. \u003c/a>\u003c/strong>It’s been a while since we’ve seen Allyson Baker, the magnetic frontwoman at the helm of SF’s Dirty Ghosts, take over a stage — but it’s usually worth the wait. This is a solid night of rusty punk-tinged indie rock in an intimate venue, celebrating the release of new records before the Ghosts and SF mainstay Stoltz head to Europe to tour. \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">$10 – $14; details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 10:\u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\"> Adrian Tomine in conversation with Vendela Vida at Booksmith, SF.\u003c/a> \u003c/strong>The Bay Area-bred graphic novelist who’s been compared to short story master Raymond Carver is back with a typically emotionally loaded new book, \u003cem>Killing and Dying, \u003c/em>full of the dark humor and quiet moments he’s known so well for capturing in comic book form. Catch him in conversation with SF superstar novelist Vendela Vida. \u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Are you throwing a thing that’s $20 or under? Should I know about it? Email me at \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Okay, let’s get this out of the way: The most important thing to do today costs absolutely nothing, and is really, really vital if you’re a San Francisco resident. \u003ca href=\"http://sfelections.org/tools/pollsite/\" target=\"_blank\" rel=\"noopener\">Vote! \u003c/a>Many polling places are open until 8 p.m., so you really don’t have an excuse.\u003c/p>\n\u003cp>Now that you’ve done that, here’s a hefty handful of events all over the Bay at which you can celebrate your civic duty — or just have a good time — for $20 or under. Without further ado, here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\">Hippy Mobb: A-Plus & Knowbody (Grow Theory), Equipto & Otayo Dubb at the New Parish, Oakland. \u003c/a>\u003c/strong>SF rapper Equipto made headlines recently for approaching Mayor Ed Lee in a diner with some none-too-sugarcoated opinions about the politician’s track record with working- and middle-class folks over the past few years. But his crew, Hippy Mobb, has been on the lips of those in the know for more than two decades. A-Plus brings cred from a different beloved crew, the Souls of Mischief/Hieroglyphics family of East Bay MCs and beat-makers. This is a low-key hometown hip-hop celebration.\u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\"> $8 – $12; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Vetiver at Sweetwater Music Hall, Mill Valley. \u003c/a>\u003c/strong>The brainchild and ever-evolving musical output of singer-songwriter-musician-producer Andy Cabic, Vetiver’s one of those San Francisco bands that will never put on the same show twice, so you can plan on not being bored, to say the least. \u003cem>Complete Strangers\u003c/em>, Cabic’s latest record, skips from melancholy indie-folk to tropicalia to power pop. As he wrote when announcing the album: “It feels like someone I’ve just met yet known for a long time.” \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">$20; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 6: \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">\u003cem>First Friday\u003c/em> at the New Parkway, Oakland. \u003c/a>“\u003c/strong>In the same year, Oakland was rated one of the top five destinations in the world and one of the top five most dangerous cities in the country. On Feb. 1, 2013 those two realities met with the fatal shooting of a teenager during First Friday, a monthly arts festival that has become the symbol of the city’s economic and cultural revival. \u003cem>First Friday\u003c/em> follows a diverse group of residents as they work to preserve the event that represents a city’s attempt to transform itself.” A Q&A with filmmakers N’Jeri Eaton and Mario Furloni will follow. \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">$10; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Real Future Fair, SF. \u003c/a>\u003c/strong>This weekend-long festival brings together some of the most visionary minds in science and technology, talking about where the next century is poised to take us. Tickets to many sessions are on the pricey-end, but this day-long event is free, family-friendly and open to the public. Featured events include drone demonstrations by the Aerial Sports League, a robot petting zoo, the Oddball Failed Futures Film Festival, and presentations by Dorkbot, the Bay Area Video Coalition and The Long Now. \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">Dirty Ghosts, Useless Eaters and Kelley Stoltz at Brick and Mortar Music Hall, SF. \u003c/a>\u003c/strong>It’s been a while since we’ve seen Allyson Baker, the magnetic frontwoman at the helm of SF’s Dirty Ghosts, take over a stage — but it’s usually worth the wait. This is a solid night of rusty punk-tinged indie rock in an intimate venue, celebrating the release of new records before the Ghosts and SF mainstay Stoltz head to Europe to tour. \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">$10 – $14; details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 10:\u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\"> Adrian Tomine in conversation with Vendela Vida at Booksmith, SF.\u003c/a> \u003c/strong>The Bay Area-bred graphic novelist who’s been compared to short story master Raymond Carver is back with a typically emotionally loaded new book, \u003cem>Killing and Dying, \u003c/em>full of the dark humor and quiet moments he’s known so well for capturing in comic book form. Catch him in conversation with SF superstar novelist Vendela Vida. \u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Are you throwing a thing that’s $20 or under? Should I know about it? Email me at \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>November is so packed with fantastic film programs that the more manic moviegoers among us will be quoting \u003ca href=\"https://www.youtube.com/watch?v=fqFUmo8VVg0\" target=\"_blank\" rel=\"noopener\">the young Jackson Browne\u003c/a> before month’s end. Even those with “normal” appetites will have ample cause to include the cinema gods in their Thanksgiving toast.\u003c/p>\n\u003cp>How abundant is the harvest? The Wim Wenders retrospective on Mondays at the Castro (\u003ca href=\"http://www.castrotheatre.com/p-list.html\" target=\"_blank\" rel=\"noopener\">Wim Wenders: Portraits Along the Road\u003c/a>) didn’t make my top five, nor did this year’s roundup of recent primo \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/new-italian-cinema#.VjUHuyhOS-8\" target=\"_blank\" rel=\"noopener\">Italian\u003c/a> movies (Nov. 11-15 at the Vogue). I didn’t have room for the local premieres of the latest lovely 16mm works by S.F.’s nationally renowned experimental filmmaker (\u003ca href=\"http://www.ybca.org/films-nathaniel-dorsky\" target=\"_blank\" rel=\"noopener\">Films by Nathaniel Dorsky: How Delicately the Light Imbues Our Fleeting Life\u003c/a>, Nov. 12-15 at YBCA), or the S.F. Film Society’s annual survey of recent \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/hong-kong-cinema#.VjUIfyhOS-8\" target=\"_blank\" rel=\"noopener\">Hong Kong\u003c/a> cinema (Nov. 14-18 at the Vogue). Likewise, you’re on your own to track down ducats to the S.F. Symphony’s performances of Danny Elfman’s score in tandem with Henry Selick’s 1993 stop-motion tour de force, \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/The-Nightmare-Before-Christmas.aspx\" target=\"_blank\" rel=\"noopener\">Tim Burton’s \u003cem>The Nightmare Before Christmas\u003c/em>\u003c/a> (Nov. 25, 27-28 at Davies Symphony Hall). What could possibly match these temptations? Read on.\u003c/p>\n\u003cfigure id=\"attachment_11055420\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Anderson640.jpg\" alt=\"A scene from Laurie Anderson's 'Heart of a Dog,' playing at Doc Stories, Nov. 5-8 at the Vogue Theatre.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Anderson640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Anderson640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Laurie Anderson’s ‘Heart of a Dog,’ playing at Doc Stories, Nov. 5-8 at the Vogue Theatre. \u003ccite>(Courtesy: San Francisco Film Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nobody is better at post-screening Q&As than documentary filmmakers. Whether they’re expounding (and expanding) on the issues at the center of their movie, spilling behind-the-camera anecdotes or riffing on the role of nonfiction filmmaking in a democracy, they are consistently compelling figures. The S.F. Film Society’s first-ever \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/doc-stories#.VjPZ9ChOS-8\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a> shindig (Nov. 5-8 at the Vogue), brings a slew of top-tier directors to town with their latest films: Sharmeen Obaid-Chinoy (\u003cem>Song of Lahore\u003c/em>), Liz Garbus (\u003cem>What Happened, Miss Simone?\u003c/em>), Matthew Heineman (\u003cem>Cartel Land\u003c/em>), Kent Jones (\u003cem>Hitchcock/Truffaut\u003c/em>), Laurie Anderson (\u003cem>Heart of a Dog\u003c/em>) and Amy Berg (\u003cem>Janis: Little Girl Blue\u003c/em>). (The last two are likely already sold out, but you can catch them in local theaters starting Nov. 13 and Dec. 4, respectively).\u003c/p>\n\u003cfigure id=\"attachment_11055422\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/AmIn640.jpg\" alt=\"Still from 'Songs My Brother Taught Me.'\" width=\"640\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/AmIn640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/AmIn640-400x232.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Songs My Brother Taught Me.’ \u003ccite>(Courtesy: American Indian Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For 40 years now, through high tides and low, the \u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival\u003c/a> (Nov. 6-13 at the Metreon) has held its ground on behalf of a culture that’s rarely and barely acknowledged in its own country. (On Thanksgiving Day, take a moment to remember that the football team in the nation’s capital still calls itself the R******s.) The movies tend to be a mix of grit and poetry, from the sibling drama \u003cem>Songs My Brother Taught Me\u003c/em> (set in, around and beyond the Pine Ridge Indian Reservation in poverty-plagued South Dakota) to the documentary \u003cem>We’re Still Here: Johnny Cash’s Bitters Tears Revisited\u003c/em> (which revives the spirit of Cash’s gusty but largely forgotten 1964 album.) The stakes are a tad higher at the AIFF than at most festivals.\u003c/p>\n\u003cfigure id=\"attachment_11055423\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055423\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Burn640.jpg\" alt=\"Still from 'She Who Must Burn,' 2015.\" width=\"640\" height=\"270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Burn640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Burn640-400x169.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘She Who Must Burn,’ 2015. \u003ccite>(Courtesy: Larry Kent)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might say that horror flicks — which play concertos with our fears — have nothing on the line beyond the audience’s entertainment. But genre filmmakers also play with conventions and taboos, and arguably have the most freedom to weave a critique of society in among the scares. Canadian octogenarian Larry Kent’s latest, \u003cem>She Who Must Burn\u003c/em>, imagines the disturbing lengths to which a fanatical evangelical family will go to persecute a counselor at a shuttered family clinic. It’s likely to be one of the most talked–about films at \u003ca href=\"http://sfindie.com/2015/10/12th-another-hole-in-the-head-announced/\" target=\"_blank\" rel=\"noopener\">Another Hole in the Head\u003c/a> (Nov. 6-16 at New People Cinema), a festival that revels in pushing the limits of silver-screen thrills.\u003c/p>\n\u003cfigure id=\"attachment_11055425\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Valley640.jpg\" alt=\"A scene from Guillaume Nicloux’s 'Valley of Love,' playing at French Cinema Now, Nov. 19-22 at the Vogue Theatre.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Valley640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Valley640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Guillaume Nicloux’s ‘Valley of Love,’ playing at French Cinema Now, Nov. 19-22 at the Vogue Theatre. \u003ccite>(Courtesy: San Francisco Film Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two of November’s weekends are already booked solid for Francophiles, and they assuredly aren’t complaining. \u003ca href=\"http://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-2-lovers-other-strangers/?instance_id=9069\" target=\"_blank\" rel=\"noopener\">The French Had a Name For It 2: Lovers and Other Strangers\u003c/a> (Nov. 6-9 at the Roxie) crams a dozen long-lost noirs into 78 hours. Surely that’s more betrayal, heartbreak and Gitanes than anyone can digest in concentrated form, so prepare accordingly. (No, flasks are not allowed in the Roxie.) On a more color-full note, the best French-lingo films of the last year unspool in the S.F. Film Society’s annual \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/french-cinema-now#.VjUJWyhOS-8\" target=\"_blank\" rel=\"noopener\">French Cinema Now\u003c/a> roundup (Nov. 19-22 at the Vogue). Contemporary screen romances don’t always end well, remember, even for those who speak the language of love. But you can’t bring a flask into the Vogue, either.\u003c/p>\n\u003cfigure id=\"attachment_11055513\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055513\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ida.jpg\" alt=\"Joan Fontaine and Edmund O'Brien in 'The Bigamist,' directed by Ida Lupino.\" width=\"600\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ida.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ida-400x225.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Joan Fontaine and Edmund O’Brien in ‘The Bigamist,’ directed by Ida Lupino. \u003ccite>(Courtesy: Ruthe Stein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Can we agree that the dearth of female directors in Hollywood is a travesty? Change comes way too slowly, so kudos to local journalist and programmer Ruthe Stein for saluting a woman who ran the set brilliantly in the not-so-distant past. Ida Lupino made it first as an actress before directing seven films and 100-plus episodes of television in the 1950s and ’60s. Two of those features, \u003cem>The Bigamist\u003c/em> (the lone film in which she directed herself) and \u003cem>The Hitch-Hiker\u003c/em>, screen Nov. 22 at the Balboa. Another wonderful thing about \u003ca href=\"http://www.voguesf.com/\" target=\"_blank\" rel=\"noopener\">Ida Lupino: Forgotten Pioneer\u003c/a> is that it’s free; just drop a line to \u003ca href=\"mailto:adam@cinemasf.com\" target=\"_blank\" rel=\"noopener\">adam@cinemasf.com\u003c/a> (two tickets per request).\u003c/p>\n\u003cfigure id=\"attachment_11055520\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055520\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Dismantling640.jpg\" alt=\"Zhi Jun's 'Dismantling Clematis #16,' 2014.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dismantling640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dismantling640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zhi Jun’s ‘Dismantling Clematis #16,’ 2014. \u003ccite>(Courtesy: SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t as dangerous to the health of Chinese moviemakers as it used to be to operate outside the sanctioned film industry. The big hurdle is getting their work seen, which involves a kind of almost-too-small-to-matter circuit of galleries, universities and festivals. YBCA, S.F. Cinematheque and CAAM (the Center for Asian American Media) provide Bay Area venues for the more innovative and powerful recent indie films. Huang Ji’s award-winning autobiographical saga, \u003cem>Egg and Stone\u003c/em> (Nov. 19 at YBCA), evokes the complex emotions accompanying a teenage village girl’s sexual awakening. A trio of programs dubbed \u003ca href=\"http://www.sfcinematheque.org/screenings/cinema-on-the-edge/\" target=\"_blank\" rel=\"noopener\">Cinema On the Edge\u003c/a> (Nov. 22 at the Victoria) showcase Ai Weiwei and several other filmmakers who aren’t household names here — yet. These artists are worth sampling not only for the out-of-the-mainstream voices and viewpoints that inform their work, but for the techniques and modes of storytelling they employ. Let’s just say the future of film isn’t in Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>November is so packed with fantastic film programs that the more manic moviegoers among us will be quoting \u003ca href=\"https://www.youtube.com/watch?v=fqFUmo8VVg0\" target=\"_blank\" rel=\"noopener\">the young Jackson Browne\u003c/a> before month’s end. Even those with “normal” appetites will have ample cause to include the cinema gods in their Thanksgiving toast.\u003c/p>\n\u003cp>How abundant is the harvest? The Wim Wenders retrospective on Mondays at the Castro (\u003ca href=\"http://www.castrotheatre.com/p-list.html\" target=\"_blank\" rel=\"noopener\">Wim Wenders: Portraits Along the Road\u003c/a>) didn’t make my top five, nor did this year’s roundup of recent primo \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/new-italian-cinema#.VjUHuyhOS-8\" target=\"_blank\" rel=\"noopener\">Italian\u003c/a> movies (Nov. 11-15 at the Vogue). I didn’t have room for the local premieres of the latest lovely 16mm works by S.F.’s nationally renowned experimental filmmaker (\u003ca href=\"http://www.ybca.org/films-nathaniel-dorsky\" target=\"_blank\" rel=\"noopener\">Films by Nathaniel Dorsky: How Delicately the Light Imbues Our Fleeting Life\u003c/a>, Nov. 12-15 at YBCA), or the S.F. Film Society’s annual survey of recent \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/hong-kong-cinema#.VjUIfyhOS-8\" target=\"_blank\" rel=\"noopener\">Hong Kong\u003c/a> cinema (Nov. 14-18 at the Vogue). Likewise, you’re on your own to track down ducats to the S.F. Symphony’s performances of Danny Elfman’s score in tandem with Henry Selick’s 1993 stop-motion tour de force, \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/The-Nightmare-Before-Christmas.aspx\" target=\"_blank\" rel=\"noopener\">Tim Burton’s \u003cem>The Nightmare Before Christmas\u003c/em>\u003c/a> (Nov. 25, 27-28 at Davies Symphony Hall). What could possibly match these temptations? Read on.\u003c/p>\n\u003cfigure id=\"attachment_11055420\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Anderson640.jpg\" alt=\"A scene from Laurie Anderson's 'Heart of a Dog,' playing at Doc Stories, Nov. 5-8 at the Vogue Theatre.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Anderson640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Anderson640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Laurie Anderson’s ‘Heart of a Dog,’ playing at Doc Stories, Nov. 5-8 at the Vogue Theatre. \u003ccite>(Courtesy: San Francisco Film Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nobody is better at post-screening Q&As than documentary filmmakers. Whether they’re expounding (and expanding) on the issues at the center of their movie, spilling behind-the-camera anecdotes or riffing on the role of nonfiction filmmaking in a democracy, they are consistently compelling figures. The S.F. Film Society’s first-ever \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/doc-stories#.VjPZ9ChOS-8\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a> shindig (Nov. 5-8 at the Vogue), brings a slew of top-tier directors to town with their latest films: Sharmeen Obaid-Chinoy (\u003cem>Song of Lahore\u003c/em>), Liz Garbus (\u003cem>What Happened, Miss Simone?\u003c/em>), Matthew Heineman (\u003cem>Cartel Land\u003c/em>), Kent Jones (\u003cem>Hitchcock/Truffaut\u003c/em>), Laurie Anderson (\u003cem>Heart of a Dog\u003c/em>) and Amy Berg (\u003cem>Janis: Little Girl Blue\u003c/em>). (The last two are likely already sold out, but you can catch them in local theaters starting Nov. 13 and Dec. 4, respectively).\u003c/p>\n\u003cfigure id=\"attachment_11055422\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/AmIn640.jpg\" alt=\"Still from 'Songs My Brother Taught Me.'\" width=\"640\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/AmIn640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/AmIn640-400x232.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Songs My Brother Taught Me.’ \u003ccite>(Courtesy: American Indian Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For 40 years now, through high tides and low, the \u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival\u003c/a> (Nov. 6-13 at the Metreon) has held its ground on behalf of a culture that’s rarely and barely acknowledged in its own country. (On Thanksgiving Day, take a moment to remember that the football team in the nation’s capital still calls itself the R******s.) The movies tend to be a mix of grit and poetry, from the sibling drama \u003cem>Songs My Brother Taught Me\u003c/em> (set in, around and beyond the Pine Ridge Indian Reservation in poverty-plagued South Dakota) to the documentary \u003cem>We’re Still Here: Johnny Cash’s Bitters Tears Revisited\u003c/em> (which revives the spirit of Cash’s gusty but largely forgotten 1964 album.) The stakes are a tad higher at the AIFF than at most festivals.\u003c/p>\n\u003cfigure id=\"attachment_11055423\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055423\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Burn640.jpg\" alt=\"Still from 'She Who Must Burn,' 2015.\" width=\"640\" height=\"270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Burn640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Burn640-400x169.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘She Who Must Burn,’ 2015. \u003ccite>(Courtesy: Larry Kent)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might say that horror flicks — which play concertos with our fears — have nothing on the line beyond the audience’s entertainment. But genre filmmakers also play with conventions and taboos, and arguably have the most freedom to weave a critique of society in among the scares. Canadian octogenarian Larry Kent’s latest, \u003cem>She Who Must Burn\u003c/em>, imagines the disturbing lengths to which a fanatical evangelical family will go to persecute a counselor at a shuttered family clinic. It’s likely to be one of the most talked–about films at \u003ca href=\"http://sfindie.com/2015/10/12th-another-hole-in-the-head-announced/\" target=\"_blank\" rel=\"noopener\">Another Hole in the Head\u003c/a> (Nov. 6-16 at New People Cinema), a festival that revels in pushing the limits of silver-screen thrills.\u003c/p>\n\u003cfigure id=\"attachment_11055425\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Valley640.jpg\" alt=\"A scene from Guillaume Nicloux’s 'Valley of Love,' playing at French Cinema Now, Nov. 19-22 at the Vogue Theatre.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Valley640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Valley640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Guillaume Nicloux’s ‘Valley of Love,’ playing at French Cinema Now, Nov. 19-22 at the Vogue Theatre. \u003ccite>(Courtesy: San Francisco Film Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two of November’s weekends are already booked solid for Francophiles, and they assuredly aren’t complaining. \u003ca href=\"http://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-2-lovers-other-strangers/?instance_id=9069\" target=\"_blank\" rel=\"noopener\">The French Had a Name For It 2: Lovers and Other Strangers\u003c/a> (Nov. 6-9 at the Roxie) crams a dozen long-lost noirs into 78 hours. Surely that’s more betrayal, heartbreak and Gitanes than anyone can digest in concentrated form, so prepare accordingly. (No, flasks are not allowed in the Roxie.) On a more color-full note, the best French-lingo films of the last year unspool in the S.F. Film Society’s annual \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2015/french-cinema-now#.VjUJWyhOS-8\" target=\"_blank\" rel=\"noopener\">French Cinema Now\u003c/a> roundup (Nov. 19-22 at the Vogue). Contemporary screen romances don’t always end well, remember, even for those who speak the language of love. But you can’t bring a flask into the Vogue, either.\u003c/p>\n\u003cfigure id=\"attachment_11055513\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055513\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ida.jpg\" alt=\"Joan Fontaine and Edmund O'Brien in 'The Bigamist,' directed by Ida Lupino.\" width=\"600\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ida.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ida-400x225.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Joan Fontaine and Edmund O’Brien in ‘The Bigamist,’ directed by Ida Lupino. \u003ccite>(Courtesy: Ruthe Stein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Can we agree that the dearth of female directors in Hollywood is a travesty? Change comes way too slowly, so kudos to local journalist and programmer Ruthe Stein for saluting a woman who ran the set brilliantly in the not-so-distant past. Ida Lupino made it first as an actress before directing seven films and 100-plus episodes of television in the 1950s and ’60s. Two of those features, \u003cem>The Bigamist\u003c/em> (the lone film in which she directed herself) and \u003cem>The Hitch-Hiker\u003c/em>, screen Nov. 22 at the Balboa. Another wonderful thing about \u003ca href=\"http://www.voguesf.com/\" target=\"_blank\" rel=\"noopener\">Ida Lupino: Forgotten Pioneer\u003c/a> is that it’s free; just drop a line to \u003ca href=\"mailto:adam@cinemasf.com\" target=\"_blank\" rel=\"noopener\">adam@cinemasf.com\u003c/a> (two tickets per request).\u003c/p>\n\u003cfigure id=\"attachment_11055520\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11055520\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Dismantling640.jpg\" alt=\"Zhi Jun's 'Dismantling Clematis #16,' 2014.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dismantling640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dismantling640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zhi Jun’s ‘Dismantling Clematis #16,’ 2014. \u003ccite>(Courtesy: SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t as dangerous to the health of Chinese moviemakers as it used to be to operate outside the sanctioned film industry. The big hurdle is getting their work seen, which involves a kind of almost-too-small-to-matter circuit of galleries, universities and festivals. YBCA, S.F. Cinematheque and CAAM (the Center for Asian American Media) provide Bay Area venues for the more innovative and powerful recent indie films. Huang Ji’s award-winning autobiographical saga, \u003cem>Egg and Stone\u003c/em> (Nov. 19 at YBCA), evokes the complex emotions accompanying a teenage village girl’s sexual awakening. A trio of programs dubbed \u003ca href=\"http://www.sfcinematheque.org/screenings/cinema-on-the-edge/\" target=\"_blank\" rel=\"noopener\">Cinema On the Edge\u003c/a> (Nov. 22 at the Victoria) showcase Ai Weiwei and several other filmmakers who aren’t household names here — yet. These artists are worth sampling not only for the out-of-the-mainstream voices and viewpoints that inform their work, but for the techniques and modes of storytelling they employ. Let’s just say the future of film isn’t in Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Get Out and Vote...For Your Favorite Stupid Pop Star Crossover Movie!",
"title": "Get Out and Vote...For Your Favorite Stupid Pop Star Crossover Movie!",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Today we'll be discussing the post-sophomore album crossover attempt: That time in a young pop starlet's life when, not content to be defined by her highly profitable and rapid ascent in the music industry, she makes the decision to move toward a concurrent career in film.\u003c/p>\n\u003cp>There are variations on this milestone in a pop star's career, of course: Christina Aguilera didn't storm Hollywood with the cinematic masterpiece of a vehicle that was \u003cem>Burlesque \u003c/em>until 2010, following the release of her sixth studio record. But for many, finding the perfect vapid marshmallow of a film on which to hitch her hopes of movie stardom is a pivot that comes with a period of self-reinvention, often a public assertion of adulthood.\u003c/p>\n\u003cp>I bring this up now for a couple reasons: For one, \u003ca href=\"http://ww2.kqed.org/pop/2015/11/02/watch-ariana-grande-school-several-grown-men-on-gender-equality/\" target=\"_blank\">Ariana Grande\u003c/a> (who's currently in the middle of promoting her sophomore album) will reprise her role on the Fox slasher-comedy series \u003cem>Scream Queens \u003c/em>in an episode that airs tonight, Nov. 3. She's yet to lasso her formidable ponytail around a feature film, but it can' t be too far around the bend.\u003c/p>\n\u003cp>Two: I will jump at any excuse to discuss the 2002 Britney Spears vehicle \u003cem>Crossroads\u003c/em>.\u003c/p>\n\u003cp>Given that my esteemed colleague Emmanuel Hapsis is of a similar disposition, we thought we'd take this opportunity to revisit some of the most notable pop star crossover movies from the past few decades. Each can be discussed in terms of pros and cons, acting abilities, and more, as well as mined for retrospective signs about where their stars were headed. Is this \u003cem>necessary\u003c/em>, you ask? We say: \u003cem>Ssshhh.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here's where you, dear readers, have to help us out. We want to honor one of these films with an official liveblogging process. All you have to do is let us know which you'd most like to see.\u003c/p>\n\u003cp>\u003cstrong>THE CONTENDERS:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118589/\" target=\"_blank\">Glitter \u003c/a>(2001) \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QaKxGrajnzY\u003c/p>\n\u003cp>Mariah Carey's star turn/infamous failure of a movie was released just over a week after 9/11, a fact on which the singer chose to blame the film's abysmal performance at the box office. The plot is semi-autobiographical, following a singer's ascent to fame in The Big City, and various overlapping plot lines featuring business drama and said singer's love life, but to be honest the only thing I really remember from this movie is a scene in which Mariah isn't sure if she wants to sleep with the producer dude, and then he's all \"but wait, let me show you my xylophone,\" and then she \u003cem>does\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0275022/?ref_=fn_al_tt_1\" target=\"_blank\">Crossroads\u003c/a> (2002) \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vb398BOlv0Q\u003c/p>\n\u003cp>Okay so I've clearly already showed my cards on this one, but Britney's (only) attempt at crossover stardom is objectively notable for a few reasons: She's a terrible actress, to be sure, a fact made more obvious by her co-conspirators (the now probably wishing-this-had-never-happened actual actresses Zoe Saldana and Taryn Manning), but it's tough to tell if Spears' performance is more or less embarrassing than the script itself; together, they're the cinematic equivalent of the nausea one might feel after eating too many mall food court hot dogs-on-sticks.\u003c/p>\n\u003cp>Plot points: Britney is a good-girl high school valedictorian (!) who plunks on a bucket hat and takes off on a whirlwind, devil-may-care road trip to California with her childhood best friends. In the process, she realizes she can sing and wear crop tops, learns some things about friendship, and falls in love with the only character in the movie portrayed by a worse actor than her. This movie also gave us perhaps the greatest \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\" target=\"_blank\">desert-based adolescent ballad of all time.\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0281358/?ref_=fn_al_tt_1\" target=\"_blank\">A Walk To Remember \u003c/a>(2002)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R3b19svqbls\u003c/p>\n\u003cp>I really can't do this Nicholas Sparks adaptation any more justice than this excerpt from its \u003ca href=\"https://en.wikipedia.org/wiki/A_Walk_to_Remember\" target=\"_blank\">Wikipedia page\u003c/a>. Ahem:\u003c/p>\n\u003cblockquote>\u003cp>Popular and rebellious teenager Landon Carter (\u003ca title=\"Shane West\" href=\"https://en.wikipedia.org/wiki/Shane_West\">Shane West\u003c/a>) is threatened with expulsion from school after he and his friends leave evidence of underage drinking on the school grounds and seriously injure another student as the result of a prank gone wrong. The head of the school gives Landon the choice of being expelled or atoning for his actions by tutoring fellow students and participating in the school play. During these functions, Landon notices Jamie Sullivan (\u003ca title=\"Mandy Moore\" href=\"https://en.wikipedia.org/wiki/Mandy_Moore\">Mandy Moore\u003c/a>), a girl he has known since kindergarten and who has attended many of the same classes as him, and who is also the local minister's daughter. Since he's one of the in-crowd, he has seldom paid any attention to Jamie, who wears modest dresses all the time and owns only one sweater.\u003c/p>\u003c/blockquote>\n\u003cp>Classic boy-meets-girl, boy-loses-girl, then Mandy Moore gets cancer kind of deal. BUMMER ALERT.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt1126591/\" target=\"_blank\">Burlesque\u003c/a> (2010)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9a4wABX5eJc\u003c/p>\n\u003cp>Xtina's mid-career tour de force has much in common with Mariah's, plot-wise: She's a small-town Midwestern girl who just wants to \u003cem>sing\u003c/em>. Also \u003cem>dance\u003c/em>. But the city is LA instead of New York, and the aesthetic is shot through with a deliciously campy feel, helped along in no small part by the matriarch of cinematic camp herself, a surprisingly willing-to-make-fun-of-herself Cher. Alan Cumming and Stanley Tucci never hurt anything either. As for Aguilera -- I want to say she's a \u003cem>slightly \u003c/em>better actress than Spears, her one-time rival and fellow former Mouseketeer, but that's really not saying much. Basically, this is a big-budget, cliche-ridden, PG-13 version of \u003cem>Showgirls -- \u003c/em>but somehow way more entertaining than that sounds?\u003c/p>\n\u003cp>\u003cstrong>HERE'S WHERE YOU COME IN:\u003c/strong>\u003c/p>\n\u003cp>Find us on Twitter. That's \u003ca href=\"http://twitter.com/kqedpop\" target=\"_blank\">@KQEDpop\u003c/a>, duh. Then Tweet us your answers to the following:\u003c/p>\n\u003cp>\u003cstrong>1. Which movie deserves a revisit?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Glitter\u003c/em>\u003c/li>\n\u003cli>\u003cem>Crossroads\u003c/em>\u003c/li>\n\u003cli>\u003cem>A Walk To Remember\u003c/em>\u003c/li>\n\u003cli>\u003cem>Burlesque\u003c/em>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>2. How stupid is this, exactly?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Pretty stupid\u003c/li>\n\u003cli>Extremely stupid\u003c/li>\n\u003c/ul>\n\u003cp>We'll also count answers left in the comments section, and let you know when we have a winner. Thanks for playing! And remember: All we have is now.\u003cem> And right now we have each other. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today we'll be discussing the post-sophomore album crossover attempt: That time in a young pop starlet's life when, not content to be defined by her highly profitable and rapid ascent in the music industry, she makes the decision to move toward a concurrent career in film.\u003c/p>\n\u003cp>There are variations on this milestone in a pop star's career, of course: Christina Aguilera didn't storm Hollywood with the cinematic masterpiece of a vehicle that was \u003cem>Burlesque \u003c/em>until 2010, following the release of her sixth studio record. But for many, finding the perfect vapid marshmallow of a film on which to hitch her hopes of movie stardom is a pivot that comes with a period of self-reinvention, often a public assertion of adulthood.\u003c/p>\n\u003cp>I bring this up now for a couple reasons: For one, \u003ca href=\"http://ww2.kqed.org/pop/2015/11/02/watch-ariana-grande-school-several-grown-men-on-gender-equality/\" target=\"_blank\">Ariana Grande\u003c/a> (who's currently in the middle of promoting her sophomore album) will reprise her role on the Fox slasher-comedy series \u003cem>Scream Queens \u003c/em>in an episode that airs tonight, Nov. 3. She's yet to lasso her formidable ponytail around a feature film, but it can' t be too far around the bend.\u003c/p>\n\u003cp>Two: I will jump at any excuse to discuss the 2002 Britney Spears vehicle \u003cem>Crossroads\u003c/em>.\u003c/p>\n\u003cp>Given that my esteemed colleague Emmanuel Hapsis is of a similar disposition, we thought we'd take this opportunity to revisit some of the most notable pop star crossover movies from the past few decades. Each can be discussed in terms of pros and cons, acting abilities, and more, as well as mined for retrospective signs about where their stars were headed. Is this \u003cem>necessary\u003c/em>, you ask? We say: \u003cem>Ssshhh.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here's where you, dear readers, have to help us out. We want to honor one of these films with an official liveblogging process. All you have to do is let us know which you'd most like to see.\u003c/p>\n\u003cp>\u003cstrong>THE CONTENDERS:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118589/\" target=\"_blank\">Glitter \u003c/a>(2001) \u003c/em>\u003c/strong>\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/QaKxGrajnzY'\n title='//www.youtube.com/embed/QaKxGrajnzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mariah Carey's star turn/infamous failure of a movie was released just over a week after 9/11, a fact on which the singer chose to blame the film's abysmal performance at the box office. The plot is semi-autobiographical, following a singer's ascent to fame in The Big City, and various overlapping plot lines featuring business drama and said singer's love life, but to be honest the only thing I really remember from this movie is a scene in which Mariah isn't sure if she wants to sleep with the producer dude, and then he's all \"but wait, let me show you my xylophone,\" and then she \u003cem>does\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0275022/?ref_=fn_al_tt_1\" target=\"_blank\">Crossroads\u003c/a> (2002) \u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vb398BOlv0Q'\n title='//www.youtube.com/embed/vb398BOlv0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay so I've clearly already showed my cards on this one, but Britney's (only) attempt at crossover stardom is objectively notable for a few reasons: She's a terrible actress, to be sure, a fact made more obvious by her co-conspirators (the now probably wishing-this-had-never-happened actual actresses Zoe Saldana and Taryn Manning), but it's tough to tell if Spears' performance is more or less embarrassing than the script itself; together, they're the cinematic equivalent of the nausea one might feel after eating too many mall food court hot dogs-on-sticks.\u003c/p>\n\u003cp>Plot points: Britney is a good-girl high school valedictorian (!) who plunks on a bucket hat and takes off on a whirlwind, devil-may-care road trip to California with her childhood best friends. In the process, she realizes she can sing and wear crop tops, learns some things about friendship, and falls in love with the only character in the movie portrayed by a worse actor than her. This movie also gave us perhaps the greatest \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\" target=\"_blank\">desert-based adolescent ballad of all time.\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0281358/?ref_=fn_al_tt_1\" target=\"_blank\">A Walk To Remember \u003c/a>(2002)\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R3b19svqbls'\n title='//www.youtube.com/embed/R3b19svqbls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I really can't do this Nicholas Sparks adaptation any more justice than this excerpt from its \u003ca href=\"https://en.wikipedia.org/wiki/A_Walk_to_Remember\" target=\"_blank\">Wikipedia page\u003c/a>. Ahem:\u003c/p>\n\u003cblockquote>\u003cp>Popular and rebellious teenager Landon Carter (\u003ca title=\"Shane West\" href=\"https://en.wikipedia.org/wiki/Shane_West\">Shane West\u003c/a>) is threatened with expulsion from school after he and his friends leave evidence of underage drinking on the school grounds and seriously injure another student as the result of a prank gone wrong. The head of the school gives Landon the choice of being expelled or atoning for his actions by tutoring fellow students and participating in the school play. During these functions, Landon notices Jamie Sullivan (\u003ca title=\"Mandy Moore\" href=\"https://en.wikipedia.org/wiki/Mandy_Moore\">Mandy Moore\u003c/a>), a girl he has known since kindergarten and who has attended many of the same classes as him, and who is also the local minister's daughter. Since he's one of the in-crowd, he has seldom paid any attention to Jamie, who wears modest dresses all the time and owns only one sweater.\u003c/p>\u003c/blockquote>\n\u003cp>Classic boy-meets-girl, boy-loses-girl, then Mandy Moore gets cancer kind of deal. BUMMER ALERT.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt1126591/\" target=\"_blank\">Burlesque\u003c/a> (2010)\u003c/em>\u003c/strong>\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/9a4wABX5eJc'\n title='//www.youtube.com/embed/9a4wABX5eJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Xtina's mid-career tour de force has much in common with Mariah's, plot-wise: She's a small-town Midwestern girl who just wants to \u003cem>sing\u003c/em>. Also \u003cem>dance\u003c/em>. But the city is LA instead of New York, and the aesthetic is shot through with a deliciously campy feel, helped along in no small part by the matriarch of cinematic camp herself, a surprisingly willing-to-make-fun-of-herself Cher. Alan Cumming and Stanley Tucci never hurt anything either. As for Aguilera -- I want to say she's a \u003cem>slightly \u003c/em>better actress than Spears, her one-time rival and fellow former Mouseketeer, but that's really not saying much. Basically, this is a big-budget, cliche-ridden, PG-13 version of \u003cem>Showgirls -- \u003c/em>but somehow way more entertaining than that sounds?\u003c/p>\n\u003cp>\u003cstrong>HERE'S WHERE YOU COME IN:\u003c/strong>\u003c/p>\n\u003cp>Find us on Twitter. That's \u003ca href=\"http://twitter.com/kqedpop\" target=\"_blank\">@KQEDpop\u003c/a>, duh. Then Tweet us your answers to the following:\u003c/p>\n\u003cp>\u003cstrong>1. Which movie deserves a revisit?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Glitter\u003c/em>\u003c/li>\n\u003cli>\u003cem>Crossroads\u003c/em>\u003c/li>\n\u003cli>\u003cem>A Walk To Remember\u003c/em>\u003c/li>\n\u003cli>\u003cem>Burlesque\u003c/em>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>2. How stupid is this, exactly?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Pretty stupid\u003c/li>\n\u003cli>Extremely stupid\u003c/li>\n\u003c/ul>\n\u003cp>We'll also count answers left in the comments section, and let you know when we have a winner. Thanks for playing! And remember: All we have is now.\u003cem> And right now we have each other. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch4>\u003c/h4>\n\u003ch3>\u003cstrong>Sleepaway Camp (1983)\u003c/strong>\u003c/h3>\n\u003ch3>\u003cstrong>Director: Robert Hiltzik\u003c/strong>\u003c/h3>\n\u003cp>One member of the \u003cem>Film School Shorts\u003c/em> team discovered this 80’s gem one night in New Orleans. Not only did they stumble upon the mini-horror film fest by accident, but the screening also had one of the actors in attendance whose seeming inebriation had caused him \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/29/3-campy-80s-summer-camp-horror-classics/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/29/3-campy-80s-summer-camp-horror-classics/\" target=\"_blank\" title=\"3 Campy 80’s Summer Camp Horror Classics\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Summer's over but it's Halloween and some of the best horror happens at one of the most benign settings: the Summer camp.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "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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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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