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"content": "\u003cp>Dearest denizens of the \u003ca href=\"http://qz.com/414216/surprising-absolutely-no-one-san-franciscos-rents-are-the-most-expensive-in-the-country/\" target=\"_blank\" rel=\"noopener\">most expensive metropolitan area in the U.S:\u003c/a> How’s your week going? Did you splurge a little over the weekend at \u003ca href=\"http://ww2.kqed.org/arts/2015/10/19/photos-and-highlights-treasure-island-music-festival-2015-day-one/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Fest\u003c/a>? Looking forward to making up for it over the next 7 to 10 days by simply not leaving your house, living on oatmeal you’ve scrounged from the back of your kitchen cabinets? \u003cem>No fun for you. \u003c/em>\u003c/p>\n\u003cp>Well, stop right there. Here’s this week’s \u003cstrong>Cheap Date\u003c/strong>, full of shows, exhibits, and parties, all of which take place outside your house but will not leave you destitute. (You’re welcome.)\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 22: \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">Nobunny at the New Parish, Oakland.\u003c/a> \u003c/strong>He’s weird, he’s vulgar, he’s wearing a bunny mask…and not much else. If you see a guy who fits this description ambling the streets of Oakland, never fear — you’re just encountering a Bay Area punk legend. Not for the faint of heart, a sweaty, guitar hook-filled Nobunny show is one of those you-have-to-see-it-to-understand-it kinda things I’d recommend doing at least once. Well worth the $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Oct. 23: \u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reigning Queens: The Lost Photos of Roz Joseph\u003c/em> at the GLBT History Museum, SF.\u003c/a> \u003c/strong>Get all dolled up and relive the wild and crazy drag balls of 1970s San Francisco through this exhibit featuring photos by a noted photographer, whose drag queen series was discovered after she donated her work to the GLBT Historical Society. This opening party will feature mingling, fabulous costumes, and a disco DJ set, of course.\u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\"> $3 – $5; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 24: \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">JanSport’s Bonfire Sessions with Cathedrals, The She’s, and Heartwatch at the SOMA StrEAT Food Park, SF.\u003c/a>\u003c/strong> Catch three of San Francisco’s buzziest bands — all badass lady-fronted, now that I’m thinking about it — for free, all under the stars (and, um, the 101 overpass) with food and beer options galore. Cathedrals bring a soulful electro vibe; The She’s a more beachy, garage doo-wop ethos; and Heartwatch pure indie rock spunk. \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">Free with RSVP; details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 24: \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">Bollywood at the Castro, SF.\u003c/a> \u003c/strong>The San Francisco International South Asian Film Festival — or 3rd i — features four days packed with dramas, comedies, documentaries, shorts and features from all over India, Pakistan, Sri Lanka and more. But Bollywood night is a perennial favorite for a reason. This year’s includes a screening of the comedy \u003cem>PK\u003c/em>, starring Aamir Khan as “an inquisitive space alien who lands on Earth and shakes up society…deftly poking fun at the foibles of earthlings — especially their warring religions.” \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">$10 – $13; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25: \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Patchwork Show, a Modern Makers’ Festival in Jack London Square, Oakland.\u003c/a> \u003c/strong>Dear Handmade Life is a community of artists, crafters, and builders with one thing in common: They’re hardcore about D-ing It Y. Check out jewelry, furniture, collectibles, decorative art and more from 160+ vendors; food trucks and live music don’t hurt either. \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25:\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\"> Mudhoney, Jonny Manak & the Depressives, and Happy Fangs at Rock Bar, San Jose. \u003c/a>\u003c/strong>One of Sub Pop’s most prescient early signings, Seattle’s Mudhoney helped shape what would come to be known as grunge, mixing heavy, high-distortion guitar with emotive songwriting and and a devil-may-care spirit. Some 25 years later, commercial success has always eluded the band, but their sizable following couldn’t care less. Opener Happy Fangs is one of San Francisco’s finest art-punk residents to boot. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\">$18-$20; details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Are you throwing a thing that is $20 or under? Should I know about it? Email me: \u003ca href=\"mailto:esilvers@kqed.org\">esilvers(at)kqed.org\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dearest denizens of the \u003ca href=\"http://qz.com/414216/surprising-absolutely-no-one-san-franciscos-rents-are-the-most-expensive-in-the-country/\" target=\"_blank\" rel=\"noopener\">most expensive metropolitan area in the U.S:\u003c/a> How’s your week going? Did you splurge a little over the weekend at \u003ca href=\"http://ww2.kqed.org/arts/2015/10/19/photos-and-highlights-treasure-island-music-festival-2015-day-one/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Fest\u003c/a>? Looking forward to making up for it over the next 7 to 10 days by simply not leaving your house, living on oatmeal you’ve scrounged from the back of your kitchen cabinets? \u003cem>No fun for you. \u003c/em>\u003c/p>\n\u003cp>Well, stop right there. Here’s this week’s \u003cstrong>Cheap Date\u003c/strong>, full of shows, exhibits, and parties, all of which take place outside your house but will not leave you destitute. (You’re welcome.)\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 22: \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">Nobunny at the New Parish, Oakland.\u003c/a> \u003c/strong>He’s weird, he’s vulgar, he’s wearing a bunny mask…and not much else. If you see a guy who fits this description ambling the streets of Oakland, never fear — you’re just encountering a Bay Area punk legend. Not for the faint of heart, a sweaty, guitar hook-filled Nobunny show is one of those you-have-to-see-it-to-understand-it kinda things I’d recommend doing at least once. Well worth the $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Oct. 23: \u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reigning Queens: The Lost Photos of Roz Joseph\u003c/em> at the GLBT History Museum, SF.\u003c/a> \u003c/strong>Get all dolled up and relive the wild and crazy drag balls of 1970s San Francisco through this exhibit featuring photos by a noted photographer, whose drag queen series was discovered after she donated her work to the GLBT Historical Society. This opening party will feature mingling, fabulous costumes, and a disco DJ set, of course.\u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\"> $3 – $5; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 24: \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">JanSport’s Bonfire Sessions with Cathedrals, The She’s, and Heartwatch at the SOMA StrEAT Food Park, SF.\u003c/a>\u003c/strong> Catch three of San Francisco’s buzziest bands — all badass lady-fronted, now that I’m thinking about it — for free, all under the stars (and, um, the 101 overpass) with food and beer options galore. Cathedrals bring a soulful electro vibe; The She’s a more beachy, garage doo-wop ethos; and Heartwatch pure indie rock spunk. \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">Free with RSVP; 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, Oct. 24: \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">Bollywood at the Castro, SF.\u003c/a> \u003c/strong>The San Francisco International South Asian Film Festival — or 3rd i — features four days packed with dramas, comedies, documentaries, shorts and features from all over India, Pakistan, Sri Lanka and more. But Bollywood night is a perennial favorite for a reason. This year’s includes a screening of the comedy \u003cem>PK\u003c/em>, starring Aamir Khan as “an inquisitive space alien who lands on Earth and shakes up society…deftly poking fun at the foibles of earthlings — especially their warring religions.” \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">$10 – $13; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25: \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Patchwork Show, a Modern Makers’ Festival in Jack London Square, Oakland.\u003c/a> \u003c/strong>Dear Handmade Life is a community of artists, crafters, and builders with one thing in common: They’re hardcore about D-ing It Y. Check out jewelry, furniture, collectibles, decorative art and more from 160+ vendors; food trucks and live music don’t hurt either. \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25:\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\"> Mudhoney, Jonny Manak & the Depressives, and Happy Fangs at Rock Bar, San Jose. \u003c/a>\u003c/strong>One of Sub Pop’s most prescient early signings, Seattle’s Mudhoney helped shape what would come to be known as grunge, mixing heavy, high-distortion guitar with emotive songwriting and and a devil-may-care spirit. Some 25 years later, commercial success has always eluded the band, but their sizable following couldn’t care less. Opener Happy Fangs is one of San Francisco’s finest art-punk residents to boot. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\">$18-$20; details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Are you throwing a thing that is $20 or under? Should I know about it? Email me: \u003ca href=\"mailto:esilvers@kqed.org\">esilvers(at)kqed.org\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450009076/450175933\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Today, some kid named Marty McFly will arrive (or already has) in a flying car.\u003c/p>\n\u003cp>Oct. 21, 2015, is when the first act of \u003cem>Back to the Future Part II\u003c/em> is set. In the sequel, Marty McFly goes forth and back in time, and complications ensue. It’s a 2015 that’s different from the one we know now — but not that different.\u003c/p>\n\u003cp>On one hand, in the movie, electric cars quietly hum around the streets. We’ve got those. A hologram for \u003cem>Jaws 19\u003c/em> pops out of a theater marquee and freaks Marty out. You can find holograms like that on the Atlantic City Boardwalk. When bad guy Griff gets arrested for wrecking the clock tower near the lake? A drone takes his picture for \u003cem>USA Today\u003c/em>. And the Chicago Cubs, in the \u003cem>Back to the Future\u003c/em> universe, win the World Series in 2015. As of right now, they can still make that happen.\u003c/p>\n\u003cp>Of course, there’s a lot of stuff that \u003cem>Back to the Future Part II\u003c/em> doesn’t get right. Our cars don’t fly. Our shoes don’t tie themselves. Our clothes don’t blow dry themselves, either. And what we call “hoverboards” today don’t really hover, if we’re going to be honest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what does a 1980s movie tell us about ourselves today in 2015? Does it say anything about how we got here?\u003c/p>\n\u003cp>Not really, according to Rick Carter. He was the production designer on the movie.\u003c/p>\n\u003cp>“It’s an attempt to stimulate in the time it was made. It wasn’t made for now.”\u003c/p>\n\u003cp>Carter’s got strong credits when it comes to time travel. He also worked on \u003cem>A.I. Artificial Intelligence,\u003c/em> \u003cem>Avatar\u003c/em> and the new \u003cem>Star Wars\u003c/em> movie.\u003c/p>\n\u003cp>Carter says time-travel stories are more about the time in which they were made. And what was big in the late ’80s when \u003cem>Back to the Future Part II\u003c/em> was made? Buying stuff.\u003c/p>\n\u003cp>“Not just product placement, but the branding of our culture,” says Carter. “This was no longer the hippie era where everything that was of corporations was being pushed to the side in terms of being hip or cool. It was a celebration of what the culture and the economy was creating.”\u003c/p>\n\u003cp>Like a hologram Ronald Reagan selling fast food.\u003c/p>\n\u003cp>It was, at least, a somewhat optimistic view of the future. More optimistic than, say, \u003cem>Blade Runner. \u003c/em>To Carter, creating the future wasn’t about predicting. It was about making the present seem better.\u003c/p>\n\u003cp>“That’s how we saw the holograms coming out of the movie theaters, or the litter bug that’s running around that’s positive, sweeping things up,” says Carter. “It was about projecting from a very exuberant sense we had at the time being young until now.”\u003c/p>\n\u003cp>That exuberance was tempered a bit, though. With some pointed jokes knocking nostalgia, the movie knew that the future wouldn’t be perfect. Or was it the past?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever. Nothing’s perfect. \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=%27Back+To+The+Future+Part+2%27%3A+Designing+A+Future+For+30+Years+Ago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what does a 1980s movie tell us about ourselves today in 2015? Does it say anything about how we got here?\u003c/p>\n\u003cp>Not really, according to Rick Carter. He was the production designer on the movie.\u003c/p>\n\u003cp>“It’s an attempt to stimulate in the time it was made. It wasn’t made for now.”\u003c/p>\n\u003cp>Carter’s got strong credits when it comes to time travel. He also worked on \u003cem>A.I. Artificial Intelligence,\u003c/em> \u003cem>Avatar\u003c/em> and the new \u003cem>Star Wars\u003c/em> movie.\u003c/p>\n\u003cp>Carter says time-travel stories are more about the time in which they were made. And what was big in the late ’80s when \u003cem>Back to the Future Part II\u003c/em> was made? Buying stuff.\u003c/p>\n\u003cp>“Not just product placement, but the branding of our culture,” says Carter. “This was no longer the hippie era where everything that was of corporations was being pushed to the side in terms of being hip or cool. It was a celebration of what the culture and the economy was creating.”\u003c/p>\n\u003cp>Like a hologram Ronald Reagan selling fast food.\u003c/p>\n\u003cp>It was, at least, a somewhat optimistic view of the future. More optimistic than, say, \u003cem>Blade Runner. \u003c/em>To Carter, creating the future wasn’t about predicting. It was about making the present seem better.\u003c/p>\n\u003cp>“That’s how we saw the holograms coming out of the movie theaters, or the litter bug that’s running around that’s positive, sweeping things up,” says Carter. “It was about projecting from a very exuberant sense we had at the time being young until now.”\u003c/p>\n\u003cp>That exuberance was tempered a bit, though. With some pointed jokes knocking nostalgia, the movie knew that the future wouldn’t be perfect. Or was it the past?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever. Nothing’s perfect. \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=%27Back+To+The+Future+Part+2%27%3A+Designing+A+Future+For+30+Years+Ago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Did you know this Saturday, October 24, 2015 is National Food Day? Created by the \u003ca href=\"http://www.cspinet.org/about/index.html\" target=\"_blank\">Center for Science in the Public Interest\u003c/a>, \u003ca href=\"http://www.foodday.org/\" target=\"_blank\">Food Day\u003c/a> is a loose coalition of nationwide events that aim to \"inspire Americans to change their diets and our food policies\" in order to create a healthier, more sustainable approach to the way we produce and consume food.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.roxie.com/ai1ec_event/food-day-film-day-festival/\" target=\"_blank\">Food Day/Film Day Festival\u003c/a>, curated by \u003ca href=\"http://eatdrinkfilms.com/\" target=\"_blank\">EatDrinkFilms\u003c/a>, a local online magazine, screens four feature films -- three San Francisco premieres and a beloved classic -- at the Roxie Theatre in the heart of the Mission District. An additional program of shorts screens for free at the Exploratorium.\u003c/p>\n\u003cfigure id=\"attachment_102283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-102283\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/10/elsomni2.jpg\" alt=\"Still from El Somni (The Dream)\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from El Somni (The Dream)\u003c/figcaption>\u003c/figure>\n\u003cp>Probably the most intriguing selection in the mix is \u003cem>El Somni (The Dream)\u003c/em>, a Spanish film documenting the production of an immersive art experience that includes, music, dance, film, sculpture and food. (\u003cem>El Somni\u003c/em> screens Saturday at 7pm.) “The Dream” in question is a \"12-course opera, a 12-act banquet\" prepared and performed for a lucky group of 12 participants who dine at a round table, which doubles as a video screen and is surrounded by three more. The documentary follows the event’s creators, including director Franc Aleu and the Roca Brothers, proprietors of El Celler de Can Roca (a restaurant in Girona, Spain, that has received three Michelin stars and was named best restaurant in the world by English Restaurant Magazine in 2013), alongside 40 visual, gastronomic and performing artists, as they conceive and prepare a sensual feast.\u003c/p>\n\u003cp>Early on we see vivid details of the event's conceptualization. Each of the Rocas struggles to explain the ideas and emotions they want to explore within the flavors of the food. One asks, \"How does the moon taste?\" And the answer has something to do with ashes and truffles. Another talks about Indian spices and peppers growing in adjacent fields and thinks about the sensual harmony of color, smell and taste within a holistic environment. A third ponders the origins of life in the depths of the sea.\u003c/p>\n\u003cp>Dancers are motion-captured and turned into statues that crumble under the weight of overwrought emotions. A musician-engineer constructs a robotic string quintet. Metal workers create delicate silver coral serving dishes. A ceramic artist considers the delicacy of desire and makes a plate to match.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/ckxZnzca7_c\u003c/p>\n\u003cp>The preparation for the event is like the construction of an opera, including sets, costumes, props, music, singing, dancing, acting … and food, strange and seemingly glorious food. One diner wonders at the event’s excess; this much sensation runs the risk of failure, going too far and creating a sensual short-circuit. Other participants struggle to translate what they are feeling into words. Words fail, but overall, the film is a phantasmagoria of delicious decadence, a vision of a European art elite in pursuit of a total art experience. I can't imagine this film screening anywhere else, so this might be your only chance to catch it in all of its avant-garde glory.\u003c/p>\n\u003cfigure id=\"attachment_102284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-102284\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/10/babettes.jpg\" alt=\"Still from Babette's Feast\" width=\"1920\" height=\"1574\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-400x328.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-800x656.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-1440x1181.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-1180x967.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-960x787.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Babette's Feast\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>El Somni\u003c/em> relates directly to the festival's opener, the 1987 Academy Award-winner, \u003cem>Babette's Feast\u003c/em>, a Danish film that is shot like a Dutch master painting. (\u003cem>Babette’s Feast\u003c/em> screens Saturday at 1:15pm.) The film explains how a pair of pious sisters living in a small, 19th-century Dutch seaside village end up with a French housekeeper, who demonstrates the transformational power and the art of cooking. If you haven't seen \u003cem>Babette's Feast\u003c/em>, now is the time. It's a quiet and gorgeously moving portrait of earthiness and grace.\u003c/p>\n\u003cp>https://youtu.be/H5w9skKcdnA\u003c/p>\n\u003cp>An additional European entry, \u003cem>The Ways of Wine\u003c/em>, is an odd combination of documentary and drama, following a famous sommelier who inexplicably loses his palate and is encouraged to visit Argentina’s best wineries to somehow recover it. (\u003cem>The Ways of Wine\u003c/em> screens Saturday at 9:15pm.)\u003c/p>\n\u003cfigure id=\"attachment_102285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-102285\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/10/pollan.jpg\" alt=\"Michael Pollan, In Defense of Food\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Michael Pollan, In Defense of Food \u003ccite>(John Chater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the U.S. front, the discussion is a little less elevated, but the debate is no less vital. Local filmmaker, Michael Schwarz's \u003cem>In Defense of Food\u003c/em>, based on Michael Pollan's book of the same name, demonstrates how completely the American commercial food system has gone off the rails. (\u003cem>In Defense of Food\u003c/em> screens Saturday at 4pm.) It's a portrait of practices and policies that have created cheap foods that lack basic nutritional value, which Pollan calls \"edible food-like substances.\" They inhabit the center sections of every supermarket and take up most of the shelf space. They come in brightly colored packages that proclaim their virtues or point out proudly what vices they lack. Pollan calls them overabundant evidence of \"nutrionalism,\" a non-holistic ideology that breaks food into its constituent parts and proclaims some elements good and others bad. We are always (in the U.S. at least) in the midst of some fad or another that tells us that fat, gluten or some other element is bad, while this month, fiber or antioxidants are in! Food manufacturers go out of their way to remove the offending materials and add those that everyone wants.\u003c/p>\n\u003cp>Basically, Pollan says, these packaged foods generate the problems they are also attempting to solve. He says, \"The quieter foods are most likely much healthier,\" meaning, in terms of nutrition, the ones in the packages have much less to offer than they claim and the ones outside of packages speak (softly) for themselves. Pollan’s slogan is, “Eat food, not too much, mostly plants.”\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/135709265\" width=\"640\" height=\"360\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \u003c/p>\n\u003cp>What's great about \u003cem>In Defense of Food\u003c/em> is that it's NOT DEPRESSING!!! It's a really informative journey through the history of our current commercial food system, exploring the reasons many situations as they currently stand came into being in the first place. Evolutionarily, one can see how the system developed, but also how it grew out of control. There were reasons in the past to want to produce cheap food, most specifically in reaction to the starvation and deprivation suffered during the Great Depression. However, those systems have gone out of whack and it's time for a rebalance. We are in a new era where scarce resources can hardly be wasted on the production of foods that cost less (because government subsidized) and are less healthy (because stripped of nutritional value) and end up causing harm (and thereby cost more in medical fees). The whole situation would seem inexplicable if Pollan weren’t such a sensible guide. And the film is illustrated by Maira Kalman, so it's great to look at as well. (Director Michael Schwarz will be at the screening.)\u003c/p>\n\u003cp>Finally, there is a free screening of shorts Saturday, 11am at the Exploratorium, which includes a screening of Susan Rockefeller’s \u003cem>Food for Thought, Food for Life\u003c/em>. Covering much the same territory as \u003cem>In Defense of Food\u003c/em>, and with a similar effervescent zip, Rockefeller’s 22-minute short is almost an executive summary of the ideas explored in depth in Schwarz’s 2-hour doc. \u003cem>Food for Thought, Food for Life\u003c/em> is, however, a bite-sized primer that could and should be seen by everyone who cares about food.\u003c/p>\n\u003cp>Speaking of caring, this much food imagery will inevitably make your stomach growl. Luckily, the folks at Eat Drink Films have got you covered. There will be tastings between screenings hosted by local food and beverage producers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Food Day/Film Day is Saturday, October 24, 2015 at the Roxie Theatre and the Exploratorium in San Francisco. For tickets and information visit \u003ca href=\"http://eatdrinkfilms.com/\" target=\"_blank\">eatdrinkfilms.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you know this Saturday, October 24, 2015 is National Food Day? Created by the \u003ca href=\"http://www.cspinet.org/about/index.html\" target=\"_blank\">Center for Science in the Public Interest\u003c/a>, \u003ca href=\"http://www.foodday.org/\" target=\"_blank\">Food Day\u003c/a> is a loose coalition of nationwide events that aim to \"inspire Americans to change their diets and our food policies\" in order to create a healthier, more sustainable approach to the way we produce and consume food.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.roxie.com/ai1ec_event/food-day-film-day-festival/\" target=\"_blank\">Food Day/Film Day Festival\u003c/a>, curated by \u003ca href=\"http://eatdrinkfilms.com/\" target=\"_blank\">EatDrinkFilms\u003c/a>, a local online magazine, screens four feature films -- three San Francisco premieres and a beloved classic -- at the Roxie Theatre in the heart of the Mission District. An additional program of shorts screens for free at the Exploratorium.\u003c/p>\n\u003cfigure id=\"attachment_102283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-102283\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/10/elsomni2.jpg\" alt=\"Still from El Somni (The Dream)\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/elsomni2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from El Somni (The Dream)\u003c/figcaption>\u003c/figure>\n\u003cp>Probably the most intriguing selection in the mix is \u003cem>El Somni (The Dream)\u003c/em>, a Spanish film documenting the production of an immersive art experience that includes, music, dance, film, sculpture and food. (\u003cem>El Somni\u003c/em> screens Saturday at 7pm.) “The Dream” in question is a \"12-course opera, a 12-act banquet\" prepared and performed for a lucky group of 12 participants who dine at a round table, which doubles as a video screen and is surrounded by three more. The documentary follows the event’s creators, including director Franc Aleu and the Roca Brothers, proprietors of El Celler de Can Roca (a restaurant in Girona, Spain, that has received three Michelin stars and was named best restaurant in the world by English Restaurant Magazine in 2013), alongside 40 visual, gastronomic and performing artists, as they conceive and prepare a sensual feast.\u003c/p>\n\u003cp>Early on we see vivid details of the event's conceptualization. Each of the Rocas struggles to explain the ideas and emotions they want to explore within the flavors of the food. One asks, \"How does the moon taste?\" And the answer has something to do with ashes and truffles. Another talks about Indian spices and peppers growing in adjacent fields and thinks about the sensual harmony of color, smell and taste within a holistic environment. A third ponders the origins of life in the depths of the sea.\u003c/p>\n\u003cp>Dancers are motion-captured and turned into statues that crumble under the weight of overwrought emotions. A musician-engineer constructs a robotic string quintet. Metal workers create delicate silver coral serving dishes. A ceramic artist considers the delicacy of desire and makes a plate to match.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/ckxZnzca7_c'\n title='//www.youtube.com/embed/ckxZnzca7_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The preparation for the event is like the construction of an opera, including sets, costumes, props, music, singing, dancing, acting … and food, strange and seemingly glorious food. One diner wonders at the event’s excess; this much sensation runs the risk of failure, going too far and creating a sensual short-circuit. Other participants struggle to translate what they are feeling into words. Words fail, but overall, the film is a phantasmagoria of delicious decadence, a vision of a European art elite in pursuit of a total art experience. I can't imagine this film screening anywhere else, so this might be your only chance to catch it in all of its avant-garde glory.\u003c/p>\n\u003cfigure id=\"attachment_102284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-102284\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/10/babettes.jpg\" alt=\"Still from Babette's Feast\" width=\"1920\" height=\"1574\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-400x328.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-800x656.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-1440x1181.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-1180x967.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/babettes-960x787.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Babette's Feast\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>El Somni\u003c/em> relates directly to the festival's opener, the 1987 Academy Award-winner, \u003cem>Babette's Feast\u003c/em>, a Danish film that is shot like a Dutch master painting. (\u003cem>Babette’s Feast\u003c/em> screens Saturday at 1:15pm.) The film explains how a pair of pious sisters living in a small, 19th-century Dutch seaside village end up with a French housekeeper, who demonstrates the transformational power and the art of cooking. If you haven't seen \u003cem>Babette's Feast\u003c/em>, now is the time. It's a quiet and gorgeously moving portrait of earthiness and grace.\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/H5w9skKcdnA'\n title='//www.youtube.com/embed/H5w9skKcdnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An additional European entry, \u003cem>The Ways of Wine\u003c/em>, is an odd combination of documentary and drama, following a famous sommelier who inexplicably loses his palate and is encouraged to visit Argentina’s best wineries to somehow recover it. (\u003cem>The Ways of Wine\u003c/em> screens Saturday at 9:15pm.)\u003c/p>\n\u003cfigure id=\"attachment_102285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-102285\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/10/pollan.jpg\" alt=\"Michael Pollan, In Defense of Food\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/10/pollan-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Michael Pollan, In Defense of Food \u003ccite>(John Chater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the U.S. front, the discussion is a little less elevated, but the debate is no less vital. Local filmmaker, Michael Schwarz's \u003cem>In Defense of Food\u003c/em>, based on Michael Pollan's book of the same name, demonstrates how completely the American commercial food system has gone off the rails. (\u003cem>In Defense of Food\u003c/em> screens Saturday at 4pm.) It's a portrait of practices and policies that have created cheap foods that lack basic nutritional value, which Pollan calls \"edible food-like substances.\" They inhabit the center sections of every supermarket and take up most of the shelf space. They come in brightly colored packages that proclaim their virtues or point out proudly what vices they lack. Pollan calls them overabundant evidence of \"nutrionalism,\" a non-holistic ideology that breaks food into its constituent parts and proclaims some elements good and others bad. We are always (in the U.S. at least) in the midst of some fad or another that tells us that fat, gluten or some other element is bad, while this month, fiber or antioxidants are in! Food manufacturers go out of their way to remove the offending materials and add those that everyone wants.\u003c/p>\n\u003cp>Basically, Pollan says, these packaged foods generate the problems they are also attempting to solve. He says, \"The quieter foods are most likely much healthier,\" meaning, in terms of nutrition, the ones in the packages have much less to offer than they claim and the ones outside of packages speak (softly) for themselves. Pollan’s slogan is, “Eat food, not too much, mostly plants.”\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/135709265\" width=\"640\" height=\"360\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \u003c/p>\n\u003cp>What's great about \u003cem>In Defense of Food\u003c/em> is that it's NOT DEPRESSING!!! It's a really informative journey through the history of our current commercial food system, exploring the reasons many situations as they currently stand came into being in the first place. Evolutionarily, one can see how the system developed, but also how it grew out of control. There were reasons in the past to want to produce cheap food, most specifically in reaction to the starvation and deprivation suffered during the Great Depression. However, those systems have gone out of whack and it's time for a rebalance. We are in a new era where scarce resources can hardly be wasted on the production of foods that cost less (because government subsidized) and are less healthy (because stripped of nutritional value) and end up causing harm (and thereby cost more in medical fees). The whole situation would seem inexplicable if Pollan weren’t such a sensible guide. And the film is illustrated by Maira Kalman, so it's great to look at as well. (Director Michael Schwarz will be at the screening.)\u003c/p>\n\u003cp>Finally, there is a free screening of shorts Saturday, 11am at the Exploratorium, which includes a screening of Susan Rockefeller’s \u003cem>Food for Thought, Food for Life\u003c/em>. Covering much the same territory as \u003cem>In Defense of Food\u003c/em>, and with a similar effervescent zip, Rockefeller’s 22-minute short is almost an executive summary of the ideas explored in depth in Schwarz’s 2-hour doc. \u003cem>Food for Thought, Food for Life\u003c/em> is, however, a bite-sized primer that could and should be seen by everyone who cares about food.\u003c/p>\n\u003cp>Speaking of caring, this much food imagery will inevitably make your stomach growl. Luckily, the folks at Eat Drink Films have got you covered. There will be tastings between screenings hosted by local food and beverage producers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hey, racist \u003cem>Star Wars\u003c/em> fans!\u003c/p>\n\u003cp>I heard about \u003ca href=\"https://twitter.com/hashtag/BoycottStarWarsVII?src=tren&data_id=tweet%3A656211509475848192\" target=\"_blank\">your boycott\u003c/a> of the upcoming \u003cem>Episode VII: The Force Awakens\u003c/em> because it *gasp* features people of color and I have a few questions for you.\u003c/p>\n\u003cp>1. How dare you?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_nq112fPV6I1rdutw3o1_400.gif\">\u003cimg class=\"size-full wp-image-18570 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_nq112fPV6I1rdutw3o1_400.gif\" alt=\"how dare you mindy\" width=\"400\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp> \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>2. You're trolling Twitter, right?\u003c/p>\n\u003cp>3. Oh, you're not? And you think it's a good idea to use the N word in a tweet?\u003c/p>\n\u003cp>4. Have you looked at a calendar recently? Your white supremacy outrage is 2000 and late (and then some).\u003c/p>\n\u003cp>https://twitter.com/MatthewSardo/status/656197047826169856\u003c/p>\n\u003cp>https://twitter.com/MattStoryMusic/status/656191086919045120\u003cbr>\n \u003c/p>\n\u003cp>5. You do realize that people of color were pretty instrumental in the original films, right?\u003c/p>\n\u003cp>6. Remember this dude who blew up the second Death Star? He's not white!\u003c/p>\n\u003cp>https://twitter.com/MCSerf/status/656111271041986561\u003cbr>\n \u003c/p>\n\u003cp>7. Did you not realize that the voice of arguably the most important character in the franchise, Darth Vader, was voiced by an awesome black man?\u003c/p>\n\u003cp>https://twitter.com/BrokenGamezHD/status/656178907905961984\u003cbr>\n \u003c/p>\n\u003cp>8. Did you forget that white skin isn't really the norm for this series?\u003c/p>\n\u003cp>https://twitter.com/Pillownaut/status/656182446531084288\u003cbr>\n \u003c/p>\n\u003cp>9. Do you recognize that freaking out about so-called #whitegenocide and calling the movie \"anti-white propaganda\" will not hurt the franchise in the slightest, but will only make you unemployable, unless you wanna work at the Mos Eisley Cantina?\u003c/p>\n\u003cp>https://twitter.com/Dr_Robuttnik/status/656152762284154880\u003cbr>\n \u003c/p>\n\u003cp>10. Oh, and did you not know that George Lucas, the mastermind behind your beloved series, is actually married to a black woman?\u003c/p>\n\u003cp>https://twitter.com/whatDWIGHT/status/656196563224539136\u003c/p>\n\u003cp>https://twitter.com/efevans/status/656182488268574720\u003cbr>\n \u003cbr>\nLike \u003ca href=\"http://thenerdsofcolor.org/2015/10/19/please-please-please-boycottstarwarsvii/\" target=\"_blank\">The Nerds of Color\u003c/a> said in their post about this mess, please do boycott this movie. We don't want to hang out with you at the theater.\u003c/p>\n\u003cp>Stay home and cry me several rivers so I can drink your tears and stay hydrated during this flu season.\u003c/p>\n\u003cp>https://twitter.com/My_At_WasStolen/status/656174910818004993\u003cbr>\n \u003c/p>\n\u003cp>Oh, and one last thing, log back into Twitter and go to Settings. Then click on Deactive my account. I hear myspace is stuck in the past, just like your world view. You might have better luck over there.\u003c/p>\n\u003cp style=\"text-align: center\">Bye now!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/drake-handwave.gif\">\u003cimg class=\"aligncenter size-full wp-image-18572\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/drake-handwave.gif\" alt=\"drake-handwave\" width=\"480\" height=\"271\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey, racist \u003cem>Star Wars\u003c/em> fans!\u003c/p>\n\u003cp>I heard about \u003ca href=\"https://twitter.com/hashtag/BoycottStarWarsVII?src=tren&data_id=tweet%3A656211509475848192\" target=\"_blank\">your boycott\u003c/a> of the upcoming \u003cem>Episode VII: The Force Awakens\u003c/em> because it *gasp* features people of color and I have a few questions for you.\u003c/p>\n\u003cp>1. How dare you?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_nq112fPV6I1rdutw3o1_400.gif\">\u003cimg class=\"size-full wp-image-18570 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_nq112fPV6I1rdutw3o1_400.gif\" alt=\"how dare you mindy\" width=\"400\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp> \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n \u003c/p>\n\u003cp>Oh, and one last thing, log back into Twitter and go to Settings. Then click on Deactive my account. I hear myspace is stuck in the past, just like your world view. You might have better luck over there.\u003c/p>\n\u003cp style=\"text-align: center\">Bye now!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/drake-handwave.gif\">\u003cimg class=\"aligncenter size-full wp-image-18572\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/drake-handwave.gif\" alt=\"drake-handwave\" width=\"480\" height=\"271\">\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When you ask a filmmaker the question, “What films inspire you?” it might elicit nods to the masters, revelations of hidden art house gems, or sometimes surprising mainstream crowd pleasers. Who would have suspected that \u003ca target=\"_blank\" href=\"https://mubi.com/lists/stanley-kubricks-favorite-films\" rel=\"noopener\">Stanley Kubrick was a fan of \u003cem>White Men Can’t Jump\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>Jessica Kaye, director of the \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/16/5-film-favorites-from-director-jessica-kaye/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/16/5-film-favorites-from-director-jessica-kaye/\" target=\"_blank\" title=\"5 Film Favorites from Director Jessica Kaye\" 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": "\u003cp>When you ask a filmmaker the question, “What films inspire you?” it might elicit nods to the masters, revelations of hidden art house gems, or sometimes surprising mainstream crowd pleasers. Who would have suspected that \u003ca target=\"_blank\" href=\"https://mubi.com/lists/stanley-kubricks-favorite-films\" rel=\"noopener\">Stanley Kubrick was a fan of \u003cem>White Men Can't Jump\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>Jessica Kaye, director of the \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/16/5-film-favorites-from-director-jessica-kaye/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you ask a filmmaker the question, “What films inspire you?” it might elicit nods to the masters, revelations of hidden art house gems, or sometimes surprising mainstream crowd pleasers. Who would have suspected that \u003ca target=\"_blank\" href=\"https://mubi.com/lists/stanley-kubricks-favorite-films\" rel=\"noopener\">Stanley Kubrick was a fan of \u003cem>White Men Can’t Jump\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>Jessica Kaye, director of the \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/16/5-film-favorites-from-director-jessica-kaye/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/16/5-film-favorites-from-director-jessica-kaye/\" target=\"_blank\" title=\"5 Film Favorites from Director Jessica Kaye\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You may feel you’ve been here before: the story of a man who uses technology to bring millions of people together, but who can’t seem to figure out how to connect with the people who are actually around him.\u003c/p>\n\u003cp>Screenwriter Aaron Sorkin told that story a few years back in his script for the Facebook movie, \u003cem>The Social Network\u003c/em>. Now, in \u003cem>Steve Jobs,\u003c/em> he’s got a strikingly different, equally riveting take centered on the guy who put music in your pocket and gave the world a personal computer that said “Hello” — ideas that sounded crazy back when most of what computers did was make spreadsheets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aEr6K1bwIVs\u003c/p>\n\u003cp>The film begins with a 1974 video clip, not of the title character but of sci-fi author Arthur C. Clarke, speaking in a room dominated by an enormous industrial computer, about a then almost inconceivable future when average Joes would have computers in their own homes. He has to convince a skeptical interviewer that this might possibly be a good thing.\u003c/p>\n\u003cp>That year, a 19-year-old Jobs would’ve been planning a trip to India to study Buddhism, but in the next shot, we meet him a decade later, as he’s about to unveil the Macintosh personal computer to an audience whose appetite has been whetted by an Orwellian Ridley Scott commercial titled simply “1984.” The commercial, which aired during the Super Bowl, didn’t show the product, because the product wasn’t ready yet. And as Jobs, played with ferocious intensity by Michael Fassbender, stands backstage, preparing to introduce it, it still isn’t. For some reason, it won’t say “Hello.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So he’s badgering, insisting, cajoling, threatening — doing whatever it takes to get his tech team, led by a panicked Andy Hertzfeld (Michael Stuhlbarg) to promise the Mac will talk on cue.\u003c/p>\n\u003cp>How he earns the loyalty of people who look to him for approval and never, ever get it is at once the crux of the film and its great mystery. There’s Apple co-founder Steve Wozniak, played explosively by Seth Rogen, who notes that Jobs can’t write code, isn’t an engineer or a designer, and is still being described in the press as a “genius.”\u003c/p>\n\u003cp>“What do you do?” he asks in exasperation.\u003c/p>\n\u003cp>And Woz is hardly the only person Jobs ticks off. There’s the mother (Katherine Waterston) of a daughter (Makenzie Moss, then Perla Haney-Jardine) he refuses to acknowledge; the marketer/right-hand/conscience who enables him (Kate Winslet); the multitude of hangers-on who have to make things actually work… hard feelings, every step of the way\u003c/p>\n\u003cp>Sorkin and director Danny Boyle give the story a three-act structure — each act playing out in real time — all of it crisis time in the half-hour or so just before three of those product launches Jobs was so famously good at. First the original Mac. Then the attention-getting but wildly overpriced NeXT CUBE in 1988 after Jobs had been fired from Apple by John Sculley (Jeff Daniels), the former Pepsi exec he’d helped install as CEO. And finally, in 1998, after Apple had hired him back, he premieres the egg-shape iMac that would set the company on its industry-dominating path.\u003c/p>\n\u003cp>The film’s tension comes partly from a raft of terrific performances — everyone’s good, and Fassbender’s stellar — and partly from juxtaposing Jobs’ public and private personas. He could make cheering audiences believe he was changing the world, but backstage… not so much.\u003c/p>\n\u003cp>If you have a sharp eye, you’ll note a difference in texture as the film moves through these three launches. Boyle shoots the first section in 16 millimeter, the second in considerably less grainy 35 millimeter, the third in glossy, crystalline high-def — a visual echo for the technical advances Jobs is talking so passionately about. And talking, and talking in Sorkin’s hard-charging, superarticulate, somehow still emotionally resonant way.\u003c/p>\n\u003cp>The film feels so electric while you’re watching, it’s hard to believe that after two hours, it doesn’t even get to the iPod, let alone the iPhone. Maybe they’re leaving themselves room for \u003cem>Steve Jobs 2\u003c/em>? Or rather, \u003cem>Steve Jobs\u003c/em>… what would the Apple folks call it? Yosemite and El Capitan are their operating systems. Maybe \u003cem>Steve Jobs Half Dome\u003c/em>. They’ll announce it but it won’t be available for a year. And it’ll cost an extra $100. And the ticket’ll require a new adapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And we’ll all — millions of us — line up, happily, to buy it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may feel you’ve been here before: the story of a man who uses technology to bring millions of people together, but who can’t seem to figure out how to connect with the people who are actually around him.\u003c/p>\n\u003cp>Screenwriter Aaron Sorkin told that story a few years back in his script for the Facebook movie, \u003cem>The Social Network\u003c/em>. Now, in \u003cem>Steve Jobs,\u003c/em> he’s got a strikingly different, equally riveting take centered on the guy who put music in your pocket and gave the world a personal computer that said “Hello” — ideas that sounded crazy back when most of what computers did was make spreadsheets.\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/aEr6K1bwIVs'\n title='//www.youtube.com/embed/aEr6K1bwIVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film begins with a 1974 video clip, not of the title character but of sci-fi author Arthur C. Clarke, speaking in a room dominated by an enormous industrial computer, about a then almost inconceivable future when average Joes would have computers in their own homes. He has to convince a skeptical interviewer that this might possibly be a good thing.\u003c/p>\n\u003cp>That year, a 19-year-old Jobs would’ve been planning a trip to India to study Buddhism, but in the next shot, we meet him a decade later, as he’s about to unveil the Macintosh personal computer to an audience whose appetite has been whetted by an Orwellian Ridley Scott commercial titled simply “1984.” The commercial, which aired during the Super Bowl, didn’t show the product, because the product wasn’t ready yet. And as Jobs, played with ferocious intensity by Michael Fassbender, stands backstage, preparing to introduce it, it still isn’t. For some reason, it won’t say “Hello.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he’s badgering, insisting, cajoling, threatening — doing whatever it takes to get his tech team, led by a panicked Andy Hertzfeld (Michael Stuhlbarg) to promise the Mac will talk on cue.\u003c/p>\n\u003cp>How he earns the loyalty of people who look to him for approval and never, ever get it is at once the crux of the film and its great mystery. There’s Apple co-founder Steve Wozniak, played explosively by Seth Rogen, who notes that Jobs can’t write code, isn’t an engineer or a designer, and is still being described in the press as a “genius.”\u003c/p>\n\u003cp>“What do you do?” he asks in exasperation.\u003c/p>\n\u003cp>And Woz is hardly the only person Jobs ticks off. There’s the mother (Katherine Waterston) of a daughter (Makenzie Moss, then Perla Haney-Jardine) he refuses to acknowledge; the marketer/right-hand/conscience who enables him (Kate Winslet); the multitude of hangers-on who have to make things actually work… hard feelings, every step of the way\u003c/p>\n\u003cp>Sorkin and director Danny Boyle give the story a three-act structure — each act playing out in real time — all of it crisis time in the half-hour or so just before three of those product launches Jobs was so famously good at. First the original Mac. Then the attention-getting but wildly overpriced NeXT CUBE in 1988 after Jobs had been fired from Apple by John Sculley (Jeff Daniels), the former Pepsi exec he’d helped install as CEO. And finally, in 1998, after Apple had hired him back, he premieres the egg-shape iMac that would set the company on its industry-dominating path.\u003c/p>\n\u003cp>The film’s tension comes partly from a raft of terrific performances — everyone’s good, and Fassbender’s stellar — and partly from juxtaposing Jobs’ public and private personas. He could make cheering audiences believe he was changing the world, but backstage… not so much.\u003c/p>\n\u003cp>If you have a sharp eye, you’ll note a difference in texture as the film moves through these three launches. Boyle shoots the first section in 16 millimeter, the second in considerably less grainy 35 millimeter, the third in glossy, crystalline high-def — a visual echo for the technical advances Jobs is talking so passionately about. And talking, and talking in Sorkin’s hard-charging, superarticulate, somehow still emotionally resonant way.\u003c/p>\n\u003cp>The film feels so electric while you’re watching, it’s hard to believe that after two hours, it doesn’t even get to the iPod, let alone the iPhone. Maybe they’re leaving themselves room for \u003cem>Steve Jobs 2\u003c/em>? Or rather, \u003cem>Steve Jobs\u003c/em>… what would the Apple folks call it? Yosemite and El Capitan are their operating systems. Maybe \u003cem>Steve Jobs Half Dome\u003c/em>. They’ll announce it but it won’t be available for a year. And it’ll cost an extra $100. And the ticket’ll require a new adapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And we’ll all — millions of us — line up, happily, to buy it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>\u003cb>Update:\u003c/b> Oct. 27, 2015\u003c/i>\u003c/p>\n\u003cp>San Francisco’s Le Video will be liquidating its 90,000+ video inventory in the oncoming weeks and closing down for good after 35 years in business, according to store owner Catherine Tchen.\u003c/p>\n\u003cp>A potential deal with the Texas-based Alamo Drafthouse that was in the works has apparently fallen through, Tchen said.\u003c/p>\n\u003cp>The owners will begin the process with selling the high value items online and will follow up with a general liquidation, with prices on all the remaining inventory being lowered each week until they sell.\u003c/p>\n\u003cp>\u003ci>\u003cb>Orignal Post:\u003c/b>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You know your journalism career is really going gangbusters when you find yourself on the local video store beat, an industry described in a 2014 \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">report\u003c/a> as “in the declining life stage cycle.”\u003c/p>\n\u003cp>Wait, video stores still \u003cem>exist\u003c/em>?\u003c/p>\n\u003cp>Yes, 3,810 of them across the United States, according to the report from IBISWorld. Last year, I did a \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">survey of the handful extant in San Francisco\u003c/a>. \u003c/p>\n\u003cp>Why? Their demise encompasses much of what you hear old-guard San Franciscans complaining about as the tech juggernaut transforms neighborhoods: high rents, the ascendancy of technocratic youth culture and the changing values and habits that culture has brought.\u003c/p>\n\u003cp>Last year, we covered \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a>, \u003ca href=\"https://www.facebook.com/Video-Wave-of-Noe-Valley-248196955196370/timeline/\" target=\"_blank\" rel=\"noopener\">Video Wave of Noe Valley\u003c/a>, \u003ca href=\"https://www.facebook.com/Fayes-Video-Espresso-Bar-63018133564/timeline/\" target=\"_blank\" rel=\"noopener\">Fayes Video & Espresso Bar\u003c/a> and \u003ca href=\"http://www.lostweekendvideo.com/\" target=\"_blank\" rel=\"noopener\">Lost Weekend\u003c/a>. \u003c/p>\n\u003cp>All of the owners I talked to felt basically under siege, as the businesses they’d cultivated over decades had all but collapsed. So we thought it would be only right to revisit these intrepid few and see how things are going.\u003c/p>\n\u003cfigure id=\"attachment_11012272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Frontlyne-e1444886538552.jpg\" alt=\"Street view of Frontlyne\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012272\">\u003cfigcaption class=\"wp-caption-text\">Street view of Frontlyne \u003ccite>(Courtesy: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frontlyne’s last day\u003c/h3>\n\u003cp>As I prepared this article, I was horrified to discover I had left out a store I’d never heard of: Frontlyne Video, in Nob Hill. I immediately gave them a ring, breathlessly asking, “Do you guys still rent videos?”\u003c/p>\n\u003cp>The woman on the other end paused. “Until next Thursday,” she said.\u003c/p>\n\u003cp>And then there were four.\u003c/p>\n\u003cp>Frontlyne, in business 26 years, will peddle its last $1.00-a-day rental on Oct. 15. After that…\u003c/p>\n\u003cp>“We’re just going to blow everything out,” said owner Henry Silverberg.\u003c/p>\n\u003cp>“Technology put us all out of business,” he said. “If Blockbuster and the big boys can’t make it and they’ve all been out of business for years, how do you think it is for the small guys?”\u003c/p>\n\u003cp>Not too good.\u003c/p>\n\u003cfigure id=\"attachment_11012273\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/LWV88.jpg\" alt=\"The Mission's Lost Weekend\" width=\"640\" height=\"428\" class=\"size-full wp-image-11012273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Mission’s Lost Weekend\u003c/figcaption>\u003c/figure>\n\u003ch3>Survival by shrinking\u003c/h3>\n\u003cp>“You can’t lose 75 percent of your business and have your rent increase,” says David Hawkins, co-owner of Lost Weekend, on Valencia Street.\u003c/p>\n\u003cp>Yet he hangs on, one of the four dead-enders who have somehow managed to avoid being Netflixed onto the scrap heap of media-consumption history. All have survived in part by folding themselves into smaller spaces: Lost Weekend halved itself and now shares rent with a record store; Video Wave recently relocated to the back of a candy store on 24th Street; Fayes, near Dolores Park, tucked its DVDs into a corner of the store.\u003c/p>\n\u003cp>In the Inner Sunset, Le Video gave up on its large downstairs space last year, once notable for a grotto-like display of its 90,000-title inventory. The store consigned itself to a room a quarter of the size upstairs, renting out its previous home to Green Apple Books on the Park, the Richmond District bookstore’s second location.\u003c/p>\n\u003cp>That move, financed by a successful Indiegogo campaign, generated cautious optimism. But it didn’t work out, and the store is currently in prolonged negotiations to sell its copious inventory in one lot, so that it remains available to the public. If that doesn’t happen, it will sell everything piecemeal.\u003c/p>\n\u003cfigure id=\"attachment_11012274\" class=\"wp-caption alignright\" style=\"max-width: 565px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/levideo1.jpg\" alt=\"Le Video's old exterior, before Green Apple's Books on the Park moved in.\" width=\"565\" height=\"424\" class=\"size-full wp-image-11012274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1.jpg 565w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1-400x300.jpg 400w\" sizes=\"(max-width: 565px) 100vw, 565px\">\u003cfigcaption class=\"wp-caption-text\">Le Video’s old exterior, before Green Apple’s Books on the Park moved in.\u003c/figcaption>\u003c/figure>\n\u003cp>Store buyer John Taylor told me business dropped by about a third after the move last year, on top of an already long slow decline. “Mainly it’s just people didn’t know we were here,” he said. “People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’\u003c/p>\n\u003cp>Catherine Tchen, the store’s owner, indicated the problem went deeper than that.\u003c/p>\n\u003cp>“People discover us when they’ve exhausted every other resource. The rest of the time they don’t understand the correlation of supporting us so we can keep providing them things they just can’t find anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_11012275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/videostorepiece-e1444886894445.jpg\" alt=\"Sign in Lost Weekend's window.\" width=\"640\" height=\"524\" class=\"size-full wp-image-11012275\">\u003cfigcaption class=\"wp-caption-text\">Sign in Lost Weekend’s window. \u003ccite>(Photo: Steve Rhodes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The decline continues\u003c/h3>\n\u003cp>Hawkins of Lost Weekend agrees that the spirit is willing but the wallet is weak when it comes to potential customers. “I’ve heard platitudes for years,” he says, describing a set of consumers who like the \u003cem>idea\u003c/em> of video stores but don’t patronize any. “It’s not that I don’t believe those people, I think they honestly believe it.”\u003c/p>\n\u003cp>But that hasn’t stopped business from declining ever more rapidly. “As business falters you keep thinking… there would be a floor and level out, and that hasn’t happened,” he said, echoing, scarily, the very same complaint he made last year. “There just doesn’t seem to be one.”\u003c/p>\n\u003cp>Hawkins, who is in his 40s, estimates he can keep going for anywhere from 6 to 18 months if the trend continues. “We’re working on Plan R,” he said, noting he now makes less money, personally, than he did when he was in his 20s.\u003c/p>\n\u003cp>Hawkins says he’s not afraid of competition. His store flourished when it had to go up against another 400-pound gorilla: chains like Blockbuster. He weathered that storm, he says, by providing a better atmosphere and selection. But competing against virtual stores is, well, virtually impossible.\u003c/p>\n\u003cp>“To go from a physical space where people come in and browse and talk to you to suddenly being an online streaming site… the money to do that is insane. The technological knowledge [required] is insane. It’s not something that a business like ours can compete with in a real sense.”\u003c/p>\n\u003ch3>A sense of mission\u003c/h3>\n\u003cp>The other thing that motivates him, and also keeps other owners from packing it in, is what some may call a quaint sense of mission, what they would describe as decades’ worth of commitment to a set of attributes: connoisseurship, community and comprehensiveness. They consider those as important as the missing component of convenience that has killed so many of their ilk.\u003c/p>\n\u003cfigure id=\"attachment_11012276\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/VideoWave2-e1444887084730.jpg\" alt=\"Video Wave's new location on 24th Street.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012276\">\u003cfigcaption class=\"wp-caption-text\">Video Wave’s new location on 24th Street. \u003ccite>(Photo: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Sanderson, co-owner of Video Wave, can rattle off the names of the fallen. Despite San Francisco having transformed into a city where a good chunk of the population is more likely to stream a film on a cell phone than pick one up at an actual store, some of her customers, old-school refugees from neighborhoods whose video businesses went belly up, now traipse over to Noe Valley to rent and lament, she says.\u003c/p>\n\u003cp>“Four Star is the one that we get the most grief over, still, people having lost it in Bernal. Before that, Dr. Video in Glen Park was one of most grieved.” She says her customers evince “sheer relief” when they find her store is still open. And, she says, business has actually stabilized.\u003c/p>\n\u003cp>What motivates her?\u003c/p>\n\u003ch3>“This is worth something”\u003c/h3>\n\u003cp>“I wanted to put my foot down and say this is worth something,” she says. “Quality of life has a value that is not monetary. We have people run into each other they haven’t seen in years. People discover things. It’s not just a retail outlet, it’s an activity… It’s something to do together, around other people. We’ve lost a lot of that [in San Francisco].”\u003c/p>\n\u003cfigure id=\"attachment_11012277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/fayes-e1444887346781.jpg\" alt=\"Fayes, with the videos tucked into the back corner\" width=\"640\" height=\"640\" class=\"size-full wp-image-11012277\">\u003cfigcaption class=\"wp-caption-text\">Fayes, with the videos tucked into the back corner \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sort of human interaction is worth preserving, says Mike McConell, co-owner of Fayes Video. “There’s customers who’ve come in here since 1999.”\u003c/p>\n\u003cp>Even though Fayes’ DVD business is “astronomically” down, McConnell says the store does okay because of its coffee shop. After pruning the DVD collection down because of declining sales, he still has about 10,000 titles. “There’s enough people who don’t want to get rid of the movies, so we will carry on,” he says.\u003c/p>\n\u003ch3>A changing San Francisco\u003c/h3>\n\u003cp>The fact that the city has become wealthier has not helped video stores — the IBISWorld report says a wealthier population does not consume hard media; demand for video stores falls when households earn more money.\u003c/p>\n\u003cp>“There’s an influx of people who are more tech-based and so they use all those gadgets; they’re not used to going in and looking for something or browsing,” says Mike McConell. “Our neighborhood has become so tech-based, or restaurant-based. People are spending their time either eating or on their phones.”\u003c/p>\n\u003cp>As he did last year, Hawkins made an argument that there’s a much larger issue at play here than just the demise of what is now a remote backwater in the media landscape.\u003c/p>\n\u003cp>“What’s evil to me about the internet, they can wipe out not only the entire world of basically anything that’s shippable or streamable; photography, books, music, then down to shoes, clothing. We’re potentially eliminating everything except food, drink and bodywork.”\u003c/p>\n\u003cp>Video Wave, at least, thinks it can survive, especially at its new, more-visible location on 24th Street.\u003c/p>\n\u003cp>“This community has supported us for 30 years,” said Colin Hutton, the store’s other owner.\u003c/p>\n\u003cp>During my visit to Video Wave, two young couples wandered in, and one pair signed up for memberships. Could maybe there be hope in this counterintuitive development? \u003ca href=\"http://www.nytimes.com/2015/09/23/business/media/the-plot-twist-e-book-sales-slip-and-print-is-far-from-dead.html?_r=0\" target=\"_blank\" rel=\"noopener\">Bookstores are making a comeback\u003c/a>; sales of e-books have stalled.\u003c/p>\n\u003cp>IBISWorld, though, does not foresee a similar rewind for video stores. Over the next five years, it says, the country is going to see roughly 15 percent of them fade to black each year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Here in San Francisco, who doesn’t want to see a Spielberg climax for these stores, as opposed to the Lars Von Trier ending we appear to be headed towards?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cb>Update:\u003c/b> Oct. 27, 2015\u003c/i>\u003c/p>\n\u003cp>San Francisco’s Le Video will be liquidating its 90,000+ video inventory in the oncoming weeks and closing down for good after 35 years in business, according to store owner Catherine Tchen.\u003c/p>\n\u003cp>A potential deal with the Texas-based Alamo Drafthouse that was in the works has apparently fallen through, Tchen said.\u003c/p>\n\u003cp>The owners will begin the process with selling the high value items online and will follow up with a general liquidation, with prices on all the remaining inventory being lowered each week until they sell.\u003c/p>\n\u003cp>\u003ci>\u003cb>Orignal Post:\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You know your journalism career is really going gangbusters when you find yourself on the local video store beat, an industry described in a 2014 \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">report\u003c/a> as “in the declining life stage cycle.”\u003c/p>\n\u003cp>Wait, video stores still \u003cem>exist\u003c/em>?\u003c/p>\n\u003cp>Yes, 3,810 of them across the United States, according to the report from IBISWorld. Last year, I did a \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">survey of the handful extant in San Francisco\u003c/a>. \u003c/p>\n\u003cp>Why? Their demise encompasses much of what you hear old-guard San Franciscans complaining about as the tech juggernaut transforms neighborhoods: high rents, the ascendancy of technocratic youth culture and the changing values and habits that culture has brought.\u003c/p>\n\u003cp>Last year, we covered \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a>, \u003ca href=\"https://www.facebook.com/Video-Wave-of-Noe-Valley-248196955196370/timeline/\" target=\"_blank\" rel=\"noopener\">Video Wave of Noe Valley\u003c/a>, \u003ca href=\"https://www.facebook.com/Fayes-Video-Espresso-Bar-63018133564/timeline/\" target=\"_blank\" rel=\"noopener\">Fayes Video & Espresso Bar\u003c/a> and \u003ca href=\"http://www.lostweekendvideo.com/\" target=\"_blank\" rel=\"noopener\">Lost Weekend\u003c/a>. \u003c/p>\n\u003cp>All of the owners I talked to felt basically under siege, as the businesses they’d cultivated over decades had all but collapsed. So we thought it would be only right to revisit these intrepid few and see how things are going.\u003c/p>\n\u003cfigure id=\"attachment_11012272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Frontlyne-e1444886538552.jpg\" alt=\"Street view of Frontlyne\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012272\">\u003cfigcaption class=\"wp-caption-text\">Street view of Frontlyne \u003ccite>(Courtesy: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frontlyne’s last day\u003c/h3>\n\u003cp>As I prepared this article, I was horrified to discover I had left out a store I’d never heard of: Frontlyne Video, in Nob Hill. I immediately gave them a ring, breathlessly asking, “Do you guys still rent videos?”\u003c/p>\n\u003cp>The woman on the other end paused. “Until next Thursday,” she said.\u003c/p>\n\u003cp>And then there were four.\u003c/p>\n\u003cp>Frontlyne, in business 26 years, will peddle its last $1.00-a-day rental on Oct. 15. After that…\u003c/p>\n\u003cp>“We’re just going to blow everything out,” said owner Henry Silverberg.\u003c/p>\n\u003cp>“Technology put us all out of business,” he said. “If Blockbuster and the big boys can’t make it and they’ve all been out of business for years, how do you think it is for the small guys?”\u003c/p>\n\u003cp>Not too good.\u003c/p>\n\u003cfigure id=\"attachment_11012273\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/LWV88.jpg\" alt=\"The Mission's Lost Weekend\" width=\"640\" height=\"428\" class=\"size-full wp-image-11012273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Mission’s Lost Weekend\u003c/figcaption>\u003c/figure>\n\u003ch3>Survival by shrinking\u003c/h3>\n\u003cp>“You can’t lose 75 percent of your business and have your rent increase,” says David Hawkins, co-owner of Lost Weekend, on Valencia Street.\u003c/p>\n\u003cp>Yet he hangs on, one of the four dead-enders who have somehow managed to avoid being Netflixed onto the scrap heap of media-consumption history. All have survived in part by folding themselves into smaller spaces: Lost Weekend halved itself and now shares rent with a record store; Video Wave recently relocated to the back of a candy store on 24th Street; Fayes, near Dolores Park, tucked its DVDs into a corner of the store.\u003c/p>\n\u003cp>In the Inner Sunset, Le Video gave up on its large downstairs space last year, once notable for a grotto-like display of its 90,000-title inventory. The store consigned itself to a room a quarter of the size upstairs, renting out its previous home to Green Apple Books on the Park, the Richmond District bookstore’s second location.\u003c/p>\n\u003cp>That move, financed by a successful Indiegogo campaign, generated cautious optimism. But it didn’t work out, and the store is currently in prolonged negotiations to sell its copious inventory in one lot, so that it remains available to the public. If that doesn’t happen, it will sell everything piecemeal.\u003c/p>\n\u003cfigure id=\"attachment_11012274\" class=\"wp-caption alignright\" style=\"max-width: 565px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/levideo1.jpg\" alt=\"Le Video's old exterior, before Green Apple's Books on the Park moved in.\" width=\"565\" height=\"424\" class=\"size-full wp-image-11012274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1.jpg 565w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1-400x300.jpg 400w\" sizes=\"(max-width: 565px) 100vw, 565px\">\u003cfigcaption class=\"wp-caption-text\">Le Video’s old exterior, before Green Apple’s Books on the Park moved in.\u003c/figcaption>\u003c/figure>\n\u003cp>Store buyer John Taylor told me business dropped by about a third after the move last year, on top of an already long slow decline. “Mainly it’s just people didn’t know we were here,” he said. “People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’\u003c/p>\n\u003cp>Catherine Tchen, the store’s owner, indicated the problem went deeper than that.\u003c/p>\n\u003cp>“People discover us when they’ve exhausted every other resource. The rest of the time they don’t understand the correlation of supporting us so we can keep providing them things they just can’t find anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_11012275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/videostorepiece-e1444886894445.jpg\" alt=\"Sign in Lost Weekend's window.\" width=\"640\" height=\"524\" class=\"size-full wp-image-11012275\">\u003cfigcaption class=\"wp-caption-text\">Sign in Lost Weekend’s window. \u003ccite>(Photo: Steve Rhodes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The decline continues\u003c/h3>\n\u003cp>Hawkins of Lost Weekend agrees that the spirit is willing but the wallet is weak when it comes to potential customers. “I’ve heard platitudes for years,” he says, describing a set of consumers who like the \u003cem>idea\u003c/em> of video stores but don’t patronize any. “It’s not that I don’t believe those people, I think they honestly believe it.”\u003c/p>\n\u003cp>But that hasn’t stopped business from declining ever more rapidly. “As business falters you keep thinking… there would be a floor and level out, and that hasn’t happened,” he said, echoing, scarily, the very same complaint he made last year. “There just doesn’t seem to be one.”\u003c/p>\n\u003cp>Hawkins, who is in his 40s, estimates he can keep going for anywhere from 6 to 18 months if the trend continues. “We’re working on Plan R,” he said, noting he now makes less money, personally, than he did when he was in his 20s.\u003c/p>\n\u003cp>Hawkins says he’s not afraid of competition. His store flourished when it had to go up against another 400-pound gorilla: chains like Blockbuster. He weathered that storm, he says, by providing a better atmosphere and selection. But competing against virtual stores is, well, virtually impossible.\u003c/p>\n\u003cp>“To go from a physical space where people come in and browse and talk to you to suddenly being an online streaming site… the money to do that is insane. The technological knowledge [required] is insane. It’s not something that a business like ours can compete with in a real sense.”\u003c/p>\n\u003ch3>A sense of mission\u003c/h3>\n\u003cp>The other thing that motivates him, and also keeps other owners from packing it in, is what some may call a quaint sense of mission, what they would describe as decades’ worth of commitment to a set of attributes: connoisseurship, community and comprehensiveness. They consider those as important as the missing component of convenience that has killed so many of their ilk.\u003c/p>\n\u003cfigure id=\"attachment_11012276\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/VideoWave2-e1444887084730.jpg\" alt=\"Video Wave's new location on 24th Street.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012276\">\u003cfigcaption class=\"wp-caption-text\">Video Wave’s new location on 24th Street. \u003ccite>(Photo: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Sanderson, co-owner of Video Wave, can rattle off the names of the fallen. Despite San Francisco having transformed into a city where a good chunk of the population is more likely to stream a film on a cell phone than pick one up at an actual store, some of her customers, old-school refugees from neighborhoods whose video businesses went belly up, now traipse over to Noe Valley to rent and lament, she says.\u003c/p>\n\u003cp>“Four Star is the one that we get the most grief over, still, people having lost it in Bernal. Before that, Dr. Video in Glen Park was one of most grieved.” She says her customers evince “sheer relief” when they find her store is still open. And, she says, business has actually stabilized.\u003c/p>\n\u003cp>What motivates her?\u003c/p>\n\u003ch3>“This is worth something”\u003c/h3>\n\u003cp>“I wanted to put my foot down and say this is worth something,” she says. “Quality of life has a value that is not monetary. We have people run into each other they haven’t seen in years. People discover things. It’s not just a retail outlet, it’s an activity… It’s something to do together, around other people. We’ve lost a lot of that [in San Francisco].”\u003c/p>\n\u003cfigure id=\"attachment_11012277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/fayes-e1444887346781.jpg\" alt=\"Fayes, with the videos tucked into the back corner\" width=\"640\" height=\"640\" class=\"size-full wp-image-11012277\">\u003cfigcaption class=\"wp-caption-text\">Fayes, with the videos tucked into the back corner \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sort of human interaction is worth preserving, says Mike McConell, co-owner of Fayes Video. “There’s customers who’ve come in here since 1999.”\u003c/p>\n\u003cp>Even though Fayes’ DVD business is “astronomically” down, McConnell says the store does okay because of its coffee shop. After pruning the DVD collection down because of declining sales, he still has about 10,000 titles. “There’s enough people who don’t want to get rid of the movies, so we will carry on,” he says.\u003c/p>\n\u003ch3>A changing San Francisco\u003c/h3>\n\u003cp>The fact that the city has become wealthier has not helped video stores — the IBISWorld report says a wealthier population does not consume hard media; demand for video stores falls when households earn more money.\u003c/p>\n\u003cp>“There’s an influx of people who are more tech-based and so they use all those gadgets; they’re not used to going in and looking for something or browsing,” says Mike McConell. “Our neighborhood has become so tech-based, or restaurant-based. People are spending their time either eating or on their phones.”\u003c/p>\n\u003cp>As he did last year, Hawkins made an argument that there’s a much larger issue at play here than just the demise of what is now a remote backwater in the media landscape.\u003c/p>\n\u003cp>“What’s evil to me about the internet, they can wipe out not only the entire world of basically anything that’s shippable or streamable; photography, books, music, then down to shoes, clothing. We’re potentially eliminating everything except food, drink and bodywork.”\u003c/p>\n\u003cp>Video Wave, at least, thinks it can survive, especially at its new, more-visible location on 24th Street.\u003c/p>\n\u003cp>“This community has supported us for 30 years,” said Colin Hutton, the store’s other owner.\u003c/p>\n\u003cp>During my visit to Video Wave, two young couples wandered in, and one pair signed up for memberships. Could maybe there be hope in this counterintuitive development? \u003ca href=\"http://www.nytimes.com/2015/09/23/business/media/the-plot-twist-e-book-sales-slip-and-print-is-far-from-dead.html?_r=0\" target=\"_blank\" rel=\"noopener\">Bookstores are making a comeback\u003c/a>; sales of e-books have stalled.\u003c/p>\n\u003cp>IBISWorld, though, does not foresee a similar rewind for video stores. Over the next five years, it says, the country is going to see roughly 15 percent of them fade to black each year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here in San Francisco, who doesn’t want to see a Spielberg climax for these stores, as opposed to the Lars Von Trier ending we appear to be headed towards?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now that\u003cem> \u003c/em>\u003cem>\u003ca target=\"_blank\" href=\"https://youtu.be/0GTAx1GsnDs\" rel=\"noopener\">The Listing\u003c/a>\u003c/em> has given you a taste for all things haunted house horror, revel in some more movies featuring haunted residences. These are listed in no particular order, and exclude many other exceptional terrifying horror films that take place within four walls. However, for both sanity and \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/08/9-best-haunted-house-horror-films/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/08/9-best-haunted-house-horror-films/\" target=\"_blank\" title=\"9 Best Haunted House Horror Films\" 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": "\u003cp>In their absence, the twin towers have occupied such a significant place in the American conscience, it can be easy to forget they were once considered a blight on the landscape. “Like two file cabinets,” snorts one New Yorker in \u003cem>The Walk\u003c/em>, Robert Zemeckis’ exhilarating film about Philippe Petit, the French wire-walker who tightroped across the towers as they were nearing completion in 1974. Zemeckis makes our current associations with the World Trade Center a little too explicit at times, but his film carries the touching sentiment that buildings are not defined by their architecture. They’re animated by our imagination and our experiences, too.\u003c/p>\n\u003cp>For Petit, a street performer and self-styled artiste from Paris, the construction of the World Trade Center was a dream clarified, the ultimate high-wire act for a man with no respect for proper permits. With a showman’s buoyancy and a Maurice Chevalier \u003cem>ahkzent zet\u003c/em> takes some getting used to, Joseph Gordon-Levitt plays Petit as a twinkle-eyed visionary who understands the Towers’ majesty before anyone else does. After covering the bullet points of Petit’s backstory—a childhood interest in juggling, miming, unicycling, and wire-walking; a mentorship under circus scion Papa Rudy (Ben Kingsley); an audacious walk across the towers of Notre-Dame Cathedral—the film finally lands in New York City, where he and his co-conspirators make plans for the surreptitious walk of the title.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GR1EmTKAWIw&list=PLYeOyMz9C9kZQDleU6Emj093Xsg1_Xa0L&index=4\u003c/p>\n\u003cp>The first half of \u003cem>The Walk\u003c/em> gets into the origins of Petit’s philosophy and craft, as well as the support he brought with him to America, but Zemeckis can’t get through that obligatory business fast enough. Once it’s wheels-down in New York City, however, Petit (and the movie) really set to work. The second hour of \u003cem>The Walk\u003c/em> has the quality of a great heist film: Petit assembles a team of trusted confidantes and motley additions, stakes out the location, plans a complex operation down to the very last bolt, and then finally sets about executing it. But for all of his meticulousness, there are still plenty of close calls and hair-raising feats of improvisation.\u003c/p>\n\u003cp>Petit’s self-described “coup” has been recounted before, in the fine documentary \u003cem>Man on Wire\u003c/em>, but Zemeckis’ combination of digital artistry and old-school storytelling chops brings a singularly exquisite tension to the final act. It’s not often that a sequence is at once suspenseful \u003cem>and\u003c/em> moving, but that’s where grunt work of establishing the stakes and paying close attention to detail pays off. The audience can feel the tension—and the possible points of vulnerability—in the wire itself, and appreciate what it means for Petit (and for America) to be held in precarious balance between the Towers, giving them a story to tell. Suddenly, these immense file cabinets in the sky have a necessary splash of paint on them and New Yorkers can see them in a new light. The fact that we’d see them in another way after they’re gone makes \u003cem>The Walk\u003c/em> a stealth September 11 tribute, the most beautiful of its kind since the opening credits of Spike Lee’s \u003cem>25th Hour\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Expanding on a résumé that includes \u003cem>Back to the Future\u003c/em>, \u003cem>Who Framed Roger Rabbit?\u003c/em>, \u003cem>Contact\u003c/em>, \u003cem>Forrest Gump\u003c/em>, and \u003cem>Death Becomes Her\u003c/em>, \u003cem>The Walk\u003c/em> also affirms Zemeckis as a peerless orchestrator of special effects. This is the rare movie that’s essential in 3D, because Zemeckis takes advantage of the format’s potential for depth \u003cem>and\u003c/em> visceral pop. Advances in 3D have made comin’-atcha effects seem gauche, as many of the most celebrated examples (such as \u003cem>Avatar\u003c/em>, \u003cem>Coraline\u003c/em>, \u003cem>Hugo\u003c/em>, and \u003cem>Pina\u003c/em>) have focused on creating immersive environments rather than poking viewers in the face. Zemeckis does both, inducing the intense vertigo of being suspended 110 stories high while occasionally extending the wire to the seats, tendril by tendril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are plenty of nits to pick about \u003cem>The Walk\u003c/em>: Gordon-Levitt’s overcranked performance, the excessive whimsy and biopic conventionality of the French section, the thinly drawn relationships between Petit and his team, the slight overstatement of the September 11 theme. But Zemeckis throws all of the emphasis on the walk itself, which minimizes the film’s annoyances and justifies the groundwork necessary for the big payoff. In that, he and Petit have everything in common.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In their absence, the twin towers have occupied such a significant place in the American conscience, it can be easy to forget they were once considered a blight on the landscape. “Like two file cabinets,” snorts one New Yorker in \u003cem>The Walk\u003c/em>, Robert Zemeckis’ exhilarating film about Philippe Petit, the French wire-walker who tightroped across the towers as they were nearing completion in 1974. Zemeckis makes our current associations with the World Trade Center a little too explicit at times, but his film carries the touching sentiment that buildings are not defined by their architecture. They’re animated by our imagination and our experiences, too.\u003c/p>\n\u003cp>For Petit, a street performer and self-styled artiste from Paris, the construction of the World Trade Center was a dream clarified, the ultimate high-wire act for a man with no respect for proper permits. With a showman’s buoyancy and a Maurice Chevalier \u003cem>ahkzent zet\u003c/em> takes some getting used to, Joseph Gordon-Levitt plays Petit as a twinkle-eyed visionary who understands the Towers’ majesty before anyone else does. After covering the bullet points of Petit’s backstory—a childhood interest in juggling, miming, unicycling, and wire-walking; a mentorship under circus scion Papa Rudy (Ben Kingsley); an audacious walk across the towers of Notre-Dame Cathedral—the film finally lands in New York City, where he and his co-conspirators make plans for the surreptitious walk of the title.\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/GR1EmTKAWIw'\n title='//www.youtube.com/embed/GR1EmTKAWIw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first half of \u003cem>The Walk\u003c/em> gets into the origins of Petit’s philosophy and craft, as well as the support he brought with him to America, but Zemeckis can’t get through that obligatory business fast enough. Once it’s wheels-down in New York City, however, Petit (and the movie) really set to work. The second hour of \u003cem>The Walk\u003c/em> has the quality of a great heist film: Petit assembles a team of trusted confidantes and motley additions, stakes out the location, plans a complex operation down to the very last bolt, and then finally sets about executing it. But for all of his meticulousness, there are still plenty of close calls and hair-raising feats of improvisation.\u003c/p>\n\u003cp>Petit’s self-described “coup” has been recounted before, in the fine documentary \u003cem>Man on Wire\u003c/em>, but Zemeckis’ combination of digital artistry and old-school storytelling chops brings a singularly exquisite tension to the final act. It’s not often that a sequence is at once suspenseful \u003cem>and\u003c/em> moving, but that’s where grunt work of establishing the stakes and paying close attention to detail pays off. The audience can feel the tension—and the possible points of vulnerability—in the wire itself, and appreciate what it means for Petit (and for America) to be held in precarious balance between the Towers, giving them a story to tell. Suddenly, these immense file cabinets in the sky have a necessary splash of paint on them and New Yorkers can see them in a new light. The fact that we’d see them in another way after they’re gone makes \u003cem>The Walk\u003c/em> a stealth September 11 tribute, the most beautiful of its kind since the opening credits of Spike Lee’s \u003cem>25th Hour\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Expanding on a résumé that includes \u003cem>Back to the Future\u003c/em>, \u003cem>Who Framed Roger Rabbit?\u003c/em>, \u003cem>Contact\u003c/em>, \u003cem>Forrest Gump\u003c/em>, and \u003cem>Death Becomes Her\u003c/em>, \u003cem>The Walk\u003c/em> also affirms Zemeckis as a peerless orchestrator of special effects. This is the rare movie that’s essential in 3D, because Zemeckis takes advantage of the format’s potential for depth \u003cem>and\u003c/em> visceral pop. Advances in 3D have made comin’-atcha effects seem gauche, as many of the most celebrated examples (such as \u003cem>Avatar\u003c/em>, \u003cem>Coraline\u003c/em>, \u003cem>Hugo\u003c/em>, and \u003cem>Pina\u003c/em>) have focused on creating immersive environments rather than poking viewers in the face. Zemeckis does both, inducing the intense vertigo of being suspended 110 stories high while occasionally extending the wire to the seats, tendril by tendril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are plenty of nits to pick about \u003cem>The Walk\u003c/em>: Gordon-Levitt’s overcranked performance, the excessive whimsy and biopic conventionality of the French section, the thinly drawn relationships between Petit and his team, the slight overstatement of the September 11 theme. But Zemeckis throws all of the emphasis on the walk itself, which minimizes the film’s annoyances and justifies the groundwork necessary for the big payoff. In that, he and Petit have everything in common.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Dance Film Festival Profiles Major Choreographers, Schoolyard Clapping Games",
"headTitle": "SF Dance Film Festival Profiles Major Choreographers, Schoolyard Clapping Games | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Pina Bausch once famously said, “I\u003c/span>\u003cspan style=\"font-weight: 400\"> loved to dance because I was scared to speak. When I was moving, I could feel.”\u003c/span>\u003c/p>\n\u003cp>The late German choreographer’s words serve as the inspiration for \u003cem>\u003ca href=\"http://www.sfdancefilmfest.org/2015-schedule/international-shorts-i/\" target=\"_blank\" rel=\"noopener\">Pas\u003c/a>\u003c/em>, one of the opening night films at this year’s \u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>. The event offers up a wide array of long and short form dance movies over the course of its four-day run.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Pas\u003c/em> is a short, and the format lends itself particularly well to Bausch’s thesis statement. Short films are often wordless, only scanned and plotted for the movement of the body. The visceral language evokes a mood or emotion precisely because speech is withheld. As such, it’s hard to remain unmoved by the despair of a soldier returned from war \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Private Life\u003c/em>)\u003c/span>\u003cspan style=\"font-weight: 400\"> or the Caliban-like intensity of a dancer’s interaction with the natural world \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Uath Lochans\u003c/em>).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003046\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png\" alt=\"Uath Lochan, Katrina McPherson\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-400x223.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1180x657.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-960x535.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Uath Lochan, Katrina McPherson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to three nights of International Shorts programming, the festival includes some interesting documentaries. \u003c/span>\u003cspan style=\"font-weight: 400\"> In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Feelings Are Facts: The Life of Yvonne Rainer, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Bay Area filmmaker Jack Walsh tells the story of Rainer, an American postmodern dance maverick. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Mother Loved Dance \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">follows French ballerina and choreographer Brigitte \u003c/span>\u003cspan style=\"font-weight: 400\">Lefèvre in the process of retiring from her post as director of the Paris Opera Ballet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg\" alt=\"Rare Birds, T.M. Rives, director\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rare Birds, T.M. Rives, director\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if you weren’t able to dash over to Oslo, Norway last year to witness, in person, \u003c/span>\u003cspan style=\"font-weight: 400\">Alexander Ekman’s aquatic production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Swan Lake,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> you’re in luck. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rare Birds \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">captures Ekman’s process with the Norwegian National Ballet as the company mounts a celebrated ballet on a beautiful, watery stage. On the festival’s last day, there’s a family-friendly matinee \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Let’s Get the Rhythm \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">about the hand-clapping games that girls play on inner-city playgrounds around the world. If the festival lineup hasn’t already inspired you to get on your feet, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rhythm\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> will do the trick. The film opens with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.youtube.com/watch?v=GHhGbivQdG4\" target=\"_blank\" rel=\"noopener\">The Clapping Song (Clap Pat Clap Slap): \u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">you’ll be dancing in no time.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Thursday-Sunday, October 8-11, 2015\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Brava Theater Center\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">2781 24th Street, San Francisco\u003c/span>\u003c/p>\n\n",
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"excerpt": "The esoteric annual event explores the lives of dance greats like Yvonne Rainer and Brigitte Lefevre as well as kids having fun in recess.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Pina Bausch once famously said, “I\u003c/span>\u003cspan style=\"font-weight: 400\"> loved to dance because I was scared to speak. When I was moving, I could feel.”\u003c/span>\u003c/p>\n\u003cp>The late German choreographer’s words serve as the inspiration for \u003cem>\u003ca href=\"http://www.sfdancefilmfest.org/2015-schedule/international-shorts-i/\" target=\"_blank\" rel=\"noopener\">Pas\u003c/a>\u003c/em>, one of the opening night films at this year’s \u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>. The event offers up a wide array of long and short form dance movies over the course of its four-day run.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Pas\u003c/em> is a short, and the format lends itself particularly well to Bausch’s thesis statement. Short films are often wordless, only scanned and plotted for the movement of the body. The visceral language evokes a mood or emotion precisely because speech is withheld. As such, it’s hard to remain unmoved by the despair of a soldier returned from war \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Private Life\u003c/em>)\u003c/span>\u003cspan style=\"font-weight: 400\"> or the Caliban-like intensity of a dancer’s interaction with the natural world \u003c/span>\u003cspan style=\"font-weight: 400\">(\u003cem>Uath Lochans\u003c/em>).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003046\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003046\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png\" alt=\"Uath Lochan, Katrina McPherson\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-400x223.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1180x657.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-960x535.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/uath_lochan_copy.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Uath Lochan, Katrina McPherson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to three nights of International Shorts programming, the festival includes some interesting documentaries. \u003c/span>\u003cspan style=\"font-weight: 400\"> In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Feelings Are Facts: The Life of Yvonne Rainer, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Bay Area filmmaker Jack Walsh tells the story of Rainer, an American postmodern dance maverick. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Mother Loved Dance \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">follows French ballerina and choreographer Brigitte \u003c/span>\u003cspan style=\"font-weight: 400\">Lefèvre in the process of retiring from her post as director of the Paris Opera Ballet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11003045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11003045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg\" alt=\"Rare Birds, T.M. Rives, director\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/rare_birds_T.M.-Rives.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rare Birds, T.M. Rives, director\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if you weren’t able to dash over to Oslo, Norway last year to witness, in person, \u003c/span>\u003cspan style=\"font-weight: 400\">Alexander Ekman’s aquatic production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Swan Lake,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> you’re in luck. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rare Birds \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">captures Ekman’s process with the Norwegian National Ballet as the company mounts a celebrated ballet on a beautiful, watery stage. On the festival’s last day, there’s a family-friendly matinee \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Let’s Get the Rhythm \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">about the hand-clapping games that girls play on inner-city playgrounds around the world. If the festival lineup hasn’t already inspired you to get on your feet, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rhythm\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> will do the trick. The film opens with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.youtube.com/watch?v=GHhGbivQdG4\" target=\"_blank\" rel=\"noopener\">The Clapping Song (Clap Pat Clap Slap): \u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">you’ll be dancing in no time.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIPaPiArbLI\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XKSQmYUaIyE\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\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/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">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>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\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/ZIPaPiArbLI'\n title='//www.youtube.com/embed/ZIPaPiArbLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\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/XKSQmYUaIyE'\n title='//www.youtube.com/embed/XKSQmYUaIyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes you feel like you’ve watched everything worthwhile on Hulu, Netflix and your mom’s HBO Go account, and there is \u003cem>literally nothing else to watch\u003c/em>.\u003c/p>\n\u003cp>Welcome to Pajama Film Fest (PJFF), a special series of thematically-curated video collections that you can enjoy at home in the comfort of your PJs. These playlists feature favorite videos from our archives and other producers we love. Get ready to “YouTube and chill.”\u003c/p>\n\u003cp class=\"x_MsoNormal\">This month’s PJFF is all about narrative animation, featuring classics from \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">KQED Art School\u003c/a> and \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>. Watch stories about a brave corgi in a zombie apocalypse, a saucy cupcake who goes vegan and an elephant boy who ends up in the belly of a whale.\u003c/p>\n\u003cp class=\"x_MsoNormal\">After enjoying these short films by artists and producers like Kirsten Lepore and Julia Pott, go behind the scenes. Lepore talks about the process of stop-motion animation and offers tips on how to make your own claymation films. Learn even more about the history of animation in the final video from \u003ca href=\"https://www.youtube.com/user/PBSoffbook\" target=\"_blank\" rel=\"noopener\">PBS Off Book\u003c/a> and get inspired to make your own animated masterpiece!\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=videoseries?list=PLiOil1qP-cMXqxRoW7CnXwqhgrMSx28yM]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
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