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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>A Doctor’s Job/¡Una carrerita, Doctor!:\u003c/em> How do you make ends meet? When Dr. Ramon Moran isn’t resuscitating patients in the ER, he works an equally long shift as a cab driver in Lima, Peru. His elderly mother’s senility is worsening, and Dr. \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/16/tough-gig-the-award-winning-a-doctors-job/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/16/tough-gig-the-award-winning-a-doctors-job/\" target=\"_blank\" title=\"Tough Gig: The Award-Winning ‘A Doctor’s Job’\" 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>Rupa Marya leads the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, and back in 2013, they recorded a live concert in San Francisco, on the eve of Marya’s birthday.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg\" alt=\"Rupa and the April Fishes\" width=\"640\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And at midnight,” Marya recalls, “the band and audience started singing happy birthday. And it was so touching for me, especially as I was pregnant.”\u003c/p>\n\u003cp>So touching, Marya decided to include the song on the album, \u003cem>Live at the Independent\u003c/em>.\u003c/p>\n\u003cp>She was surprised later when her attorney, Daniel Schacht, told her that if she wanted to include the song, she’d have to pay $455 in royalties to Warner/Chappell, which is a lot for a recording project with a budget of just $12,000. Marya also thought it was ridiculous that a corporation could claim to own “Happy Birthday to You,” a song every child learns to associate with birthday cake at the age of one.\u003c/p>\n\u003cp>“Because it’s a song that’s sung all over the world, and it belongs to everybody,” Marya said.\u003c/p>\n\u003cfigure id=\"attachment_10958535\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10958535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\" alt=\"Rupa Marya of Rupa and the April Fishes\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa Marya of Rupa and the April Fishes \u003ccite>(Photo: Courtesy Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everybody may sing it, but, at least for now, it belongs to Warner/Chappell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two sisters, Patty and Mildred Hill, wrote “Happy Birthday to You” in 1893. Patty was a kindergarten teacher and the song began as a good morning tune for the kids and teacher to sing to each other, with the birthday lyrics added as an optional third verse.\u003c/p>\n\u003cp>Warner/Chappell Music acquired \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\" rel=\"noopener\">the rights to the song in 1988\u003c/a>, and still collects about $2 million-a-year in royalties for its use in movies, on television and recordings like the one by Rupa and the April Fishes.\u003c/p>\n\u003cp>So Marya joined LA based documentary maker Jennifer Nelson in challenging Warner/Chappell’s copyright in federal court. Nelson says she paid Warner/Chappell $1,500 to use “Happy Birthday to You” in her movie about the song.\u003c/p>\n\u003cp>For Marya, the fight was not over money, but principle. \u003c/p>\n\u003cp>“I’m a big fan of copyright law. Of copyrights protecting the work of artists so we can support our livelihood and make our work,” Marya said. “I’m not a fan of copyright law being used to make millions for corporations.”\u003c/p>\n\u003cp>And then attorneys for the plaintiffs found new evidence.\u003c/p>\n\u003cp>“It’s rare to have a Perry Mason moment in a case,” said Marya’s \u003ca href=\"http://donahue.com/attorneys/daniel-j-schacht/\" target=\"_blank\" rel=\"noopener\">attorney Schacht,\u003c/a> referring to the fictional defense attorney who often elicited confessions on the witness stand.\u003c/p>\n\u003cfigure id=\"attachment_10958537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg\" alt=\"Everyday Song Book, published by The Cable Company in 1922\" width=\"640\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everyday Song Book, published by The Cable Company in 1922 \u003ccite>(Courtesy: Atty Daniel Schacht)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, what Schacht called “the smoking gun,” was a songbook from 1922, containing music and lyrics for “Happy Birthday to You.” The publication appears to have been authorized by the Hill sisters’ publisher, but without a copyright notice.\u003c/p>\n\u003cp>“If it was done without a copyright notice,” Schacht said, “it falls immediately into the public domain.”\u003c/p>\n\u003cp>Warner/Chappell did not return emails requesting a comment on the case, but \u003ca href=\"http://www.scribd.com/doc/272870978/Warner-Chappell\" target=\"_blank\" rel=\"noopener\">they’ve argued in court documents \u003c/a>that the sisters never authorized the 1922 songbook, and the copyright still stands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both sides have asked a judge for summary judgement in the case, and that could come at any time. A ruling against Warner/Chappell could mean the company would have to pay back decades worth of royalties worth tens of millions of dollars.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rupa Marya leads the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, and back in 2013, they recorded a live concert in San Francisco, on the eve of Marya’s birthday.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg\" alt=\"Rupa and the April Fishes\" width=\"640\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And at midnight,” Marya recalls, “the band and audience started singing happy birthday. And it was so touching for me, especially as I was pregnant.”\u003c/p>\n\u003cp>So touching, Marya decided to include the song on the album, \u003cem>Live at the Independent\u003c/em>.\u003c/p>\n\u003cp>She was surprised later when her attorney, Daniel Schacht, told her that if she wanted to include the song, she’d have to pay $455 in royalties to Warner/Chappell, which is a lot for a recording project with a budget of just $12,000. Marya also thought it was ridiculous that a corporation could claim to own “Happy Birthday to You,” a song every child learns to associate with birthday cake at the age of one.\u003c/p>\n\u003cp>“Because it’s a song that’s sung all over the world, and it belongs to everybody,” Marya said.\u003c/p>\n\u003cfigure id=\"attachment_10958535\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10958535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\" alt=\"Rupa Marya of Rupa and the April Fishes\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa Marya of Rupa and the April Fishes \u003ccite>(Photo: Courtesy Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everybody may sing it, but, at least for now, it belongs to Warner/Chappell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two sisters, Patty and Mildred Hill, wrote “Happy Birthday to You” in 1893. Patty was a kindergarten teacher and the song began as a good morning tune for the kids and teacher to sing to each other, with the birthday lyrics added as an optional third verse.\u003c/p>\n\u003cp>Warner/Chappell Music acquired \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\" rel=\"noopener\">the rights to the song in 1988\u003c/a>, and still collects about $2 million-a-year in royalties for its use in movies, on television and recordings like the one by Rupa and the April Fishes.\u003c/p>\n\u003cp>So Marya joined LA based documentary maker Jennifer Nelson in challenging Warner/Chappell’s copyright in federal court. Nelson says she paid Warner/Chappell $1,500 to use “Happy Birthday to You” in her movie about the song.\u003c/p>\n\u003cp>For Marya, the fight was not over money, but principle. \u003c/p>\n\u003cp>“I’m a big fan of copyright law. Of copyrights protecting the work of artists so we can support our livelihood and make our work,” Marya said. “I’m not a fan of copyright law being used to make millions for corporations.”\u003c/p>\n\u003cp>And then attorneys for the plaintiffs found new evidence.\u003c/p>\n\u003cp>“It’s rare to have a Perry Mason moment in a case,” said Marya’s \u003ca href=\"http://donahue.com/attorneys/daniel-j-schacht/\" target=\"_blank\" rel=\"noopener\">attorney Schacht,\u003c/a> referring to the fictional defense attorney who often elicited confessions on the witness stand.\u003c/p>\n\u003cfigure id=\"attachment_10958537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg\" alt=\"Everyday Song Book, published by The Cable Company in 1922\" width=\"640\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everyday Song Book, published by The Cable Company in 1922 \u003ccite>(Courtesy: Atty Daniel Schacht)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, what Schacht called “the smoking gun,” was a songbook from 1922, containing music and lyrics for “Happy Birthday to You.” The publication appears to have been authorized by the Hill sisters’ publisher, but without a copyright notice.\u003c/p>\n\u003cp>“If it was done without a copyright notice,” Schacht said, “it falls immediately into the public domain.”\u003c/p>\n\u003cp>Warner/Chappell did not return emails requesting a comment on the case, but \u003ca href=\"http://www.scribd.com/doc/272870978/Warner-Chappell\" target=\"_blank\" rel=\"noopener\">they’ve argued in court documents \u003c/a>that the sisters never authorized the 1922 songbook, and the copyright still stands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both sides have asked a judge for summary judgement in the case, and that could come at any time. A ruling against Warner/Chappell could mean the company would have to pay back decades worth of royalties worth tens of millions of dollars.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fall-is-for-film-festivals-theres-something-for-everyone",
"title": "Fall is for Film Festivals: There's Something for Everyone",
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"headTitle": "Fall is for Film Festivals: There’s Something for Everyone | KQED",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If there’s anything the Bay Area is lacking, it certainly isn’t diversity in its regional film festivals. From the smaller, DIY-style festivals to bigger, star-laden events, we really do have it all. Cinema lovers have hundreds of movies to choose from at festivals this year, including features, documentaries, shorts, foreign films and even music videos. There’s something for everyone here screening at popular, long-standing institutions between September and November. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922445\" class=\"wp-caption alignleft\" style=\"max-width: 624px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibr%C3%AD.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922445\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibr%C3%AD.jpg\" alt=\"El Canto del Colibrí / The Hummingbird Songscreens at the Latino Film Festival\" width=\"624\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibrí.jpg 624w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibrí-400x242.jpg 400w\" sizes=\"(max-width: 624px) 100vw, 624px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Canto del Colibrí / The Hummingbird Songscreens at the Latino Film Festival \u003ccite>(Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Latino Film Festival\u003c/h3>\n\u003ch5>Sept. 18 – 28\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.sflatinofilmfestival.com/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The 7th annual \u003cstrong>Latino Film Festival\u003c/strong> kicks off Sept. 18 at the Brava Theater Center and screens nearly 50 features, documentaries and shorts over the course of ten days. The films, by Latino filmmakers from Latin America, Spain, and the United States, include this year’s opening night feature from Mexican director Alejandro Gerber Bicecci, \u003cem> Viento Aparte,\u003c/em> about two children making a 2,500-kilometer trek to their grandmother’s house after their mother gets sick. Another entry to note is \u003cem> El Canto del Colibrí /The Hummingbird Song\u003c/em>, Marco Castro-Bojorquez’s documentary about the complex realities of Latino fathers grappling with issues of immigration, faith, marriage equality, machismo, culture, and the process of their LGBTQ children coming out. The Latino Film Festival events take place at several locations around San Francisco, including the Brava Theater, the Roxie Theater, the Mission Cultural Center for Latino Arts, Red Poppy Art House, and Brick and Mortar Music Hall.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922528\" class=\"wp-caption alignleft\" style=\"max-width: 582px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sembene.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sembene.jpg\" alt=\"Sembene! screens at the Mill Valley Film Festival\" width=\"582\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-75x75.jpg 75w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sembene! screens at the Mill Valley Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 8 – 18\u003cbr>\nMarin County\u003cbr>\n\u003ca href=\"http://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Possibly the biggest film festival in Northern California, the \u003cstrong>Mill Valley Film Festival\u003c/strong> has premiered several Oscar contenders in recent years, including \u003cem>The Artist, Silver Linings Playbook, Life of Pi\u003c/em> and more. With roughly 200 filmmakers from 50 countries in attendance, this festival’s 38th year features Sarah Silverman accepting an award and offering a Q&A after the screening of her new drama, \u003cem>I Smile Back\u003c/em>. Screenings take place at venues around Marin County; the Christopher B. Smith Rafael Film Center, Cinema Corte Madera, CineArts Sequoia, and the Lark Theatre, and hosts fun opening and closing night parties where attendees can hobnob with the stars.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922448\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922448\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-800x565.jpg\" alt='\"Land Grabbing\" screens at the UN Film Festival' width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-1180x834.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Land Grabbing” screens at the UN Film Festival \u003ccite>(UN Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>United Nations Association Film Festival \u003c/h3>\n\u003ch5>Oct. 15 – 25\u003cbr>\nPalo Alto, Stanford, San Francisco\u003cbr>\n\u003ca href=\"http://www.unaff.org/2015/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Dedicated to honoring the Universal Declaration of Human Rights (UDHR), the 18th annual \u003cstrong>UN Film Festival\u003c/strong> screens 60 international documentaries over 11 days in several Bay Area locations (Palo Alto, Stanford University, East Palo Alto, San Francisco) this October. Working under this year’s theme of “Running Out of Time,” the festival highlights films that reveal the realities of issues around “human rights, the environment, protection of refugees, famine, homelessness, racism, disease control, women’s issues, children, universal education, war and peace.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922449\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10922449\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-800x385.jpg\" alt=\"Arab Film Festival: October 16-25 in San Francisco\" width=\"800\" height=\"385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-400x193.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-1180x569.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-960x463.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited.jpg 1820w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arab Film Festival: October 16-25 in San Francisco\u003c/figcaption>\u003c/figure>\n\u003ch3>Arab Film Festival \u003c/h3>\n\u003ch5>Oct. 16 – 25\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>After a rough summer of being evicted from its office in San Francisco’s Mission District (rent increases anyone?), the largest independent Arab Film event in the nation is still on its toes and the festival remains scheduled for Oct. 16 – 25. The 19th annual \u003cstrong>Arab Film Festival\u003c/strong> features over 50 films from 20 countries and features the best in Arab Cinema outside the Middle East. An opening night premiere and kick-off party is set for Oct. 16 at The Castro Theater in San Francisco.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922450\" class=\"wp-caption alignleft\" style=\"max-width: 462px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/south-asian-film-fest.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/south-asian-film-fest.jpg\" alt=\"“Gulabi Gang,” screened at the 11th Annual San Francisco South Asian Film Festival \" width=\"462\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/south-asian-film-fest.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/south-asian-film-fest-400x267.jpg 400w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Gulabi Gang,” screened at the 11th Annual San Francisco South Asian Film Festival \u003ccite>(3rd i South Asian Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>International South Asian Film Festival\u003c/h3>\n\u003ch5>Oct. 22 – 25 and Nov. 1\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.thirdi.org/programs/film-festival/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Featuring films from Bangladesh, Bhutan, India, Nepal, the Maldives, Pakistan, Sri Lanka, Tibet, and the South Asian Diaspora, the 13th annual South Asian Film Festival’s theme this October is “Focus on Freedoms.” The spotlight features issues around gender and sexual equality, and the historical and contemporary legacy of freedom for India and Pakistan. Films screen in San Francisco and Palo Alto.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922526\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-19751.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922526\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-19751-800x578.jpg\" alt=\"40th Annual American Indian Film Festival Poster from 1975\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">40th Annual American Indian Film Festival Poster from 1975 \u003ccite>(American Indian Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>40th Annual American Indian Film Festival\u003c/h3>\n\u003ch5>Nov. 6 – 14\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The \u003cstrong>American Indian Film Institute\u003c/strong> has brought the best in American Indian cinema to audiences since 1975. Featuring award-winning films like \u003cem>Smoke Signals, Frozen River, Tiger Eyes, Horse Tribe\u003c/em> and \u003cem>Atanarjuat: The Fast Runner\u003c/em>, the festival celebrates 40 years this November with a fantastic line-up of features, shorts, documentaries, animation, music videos and experimental films, along with the institute’s commitment to working with and empowering marginalized American Indian youth. Closing night features an award ceremony for beast feature film, best actor/actress and more. Tickets on sale October 1. (\u003cem>To read more about American Indian events in the Bay Area coming this fall, check out \u003ca href=\"http://ww2.kqed.org/arts/2015/09/10/real-american-culture-american-indian-arts-events-around-the-bay/\" target=\"_blank\" rel=\"noopener\">our guide in our Fall Arts section\u003c/a>.\u003c/em>)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922527\" class=\"wp-caption alignleft\" style=\"max-width: 472px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/trans-film-festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/trans-film-festival.jpg\" alt=\"19th annual Transgender Film Festival: November 12-15 in San Francisco\" width=\"472\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/trans-film-festival.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/trans-film-festival-400x203.jpg 400w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">19th annual Transgender Film Festival: November 12-15 in San Francisco\u003c/figcaption>\u003c/figure>\n\u003ch3>Transgender Film Festival\u003c/h3>\n\u003ch5>Nov. 12 – 15\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://sftff.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The \u003cstrong>Transgender Film Festival\u003c/strong> planted its roots in 1997 with the hopes of creating positive representation of trans and genderqueer people through cinema. The first trans film festival in the country, the event features an array of films made by and for the international trans community, including narrative, documentary, experimental, animated films and music videos. This year, the event returns to the Roxie Theater for film screenings, which launch on Nov. 12.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If there’s anything the Bay Area is lacking, it certainly isn’t diversity in its regional film festivals. From the smaller, DIY-style festivals to bigger, star-laden events, we really do have it all. Cinema lovers have hundreds of movies to choose from at festivals this year, including features, documentaries, shorts, foreign films and even music videos. There’s something for everyone here screening at popular, long-standing institutions between September and November. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922445\" class=\"wp-caption alignleft\" style=\"max-width: 624px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibr%C3%AD.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922445\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibr%C3%AD.jpg\" alt=\"El Canto del Colibrí / The Hummingbird Songscreens at the Latino Film Festival\" width=\"624\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibrí.jpg 624w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Hummingbird-Song-El-Canto-del-Colibrí-400x242.jpg 400w\" sizes=\"(max-width: 624px) 100vw, 624px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Canto del Colibrí / The Hummingbird Songscreens at the Latino Film Festival \u003ccite>(Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Latino Film Festival\u003c/h3>\n\u003ch5>Sept. 18 – 28\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.sflatinofilmfestival.com/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The 7th annual \u003cstrong>Latino Film Festival\u003c/strong> kicks off Sept. 18 at the Brava Theater Center and screens nearly 50 features, documentaries and shorts over the course of ten days. The films, by Latino filmmakers from Latin America, Spain, and the United States, include this year’s opening night feature from Mexican director Alejandro Gerber Bicecci, \u003cem> Viento Aparte,\u003c/em> about two children making a 2,500-kilometer trek to their grandmother’s house after their mother gets sick. Another entry to note is \u003cem> El Canto del Colibrí /The Hummingbird Song\u003c/em>, Marco Castro-Bojorquez’s documentary about the complex realities of Latino fathers grappling with issues of immigration, faith, marriage equality, machismo, culture, and the process of their LGBTQ children coming out. The Latino Film Festival events take place at several locations around San Francisco, including the Brava Theater, the Roxie Theater, the Mission Cultural Center for Latino Arts, Red Poppy Art House, and Brick and Mortar Music Hall.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922528\" class=\"wp-caption alignleft\" style=\"max-width: 582px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sembene.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sembene.jpg\" alt=\"Sembene! screens at the Mill Valley Film Festival\" width=\"582\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sembene-75x75.jpg 75w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sembene! screens at the Mill Valley Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 8 – 18\u003cbr>\nMarin County\u003cbr>\n\u003ca href=\"http://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Possibly the biggest film festival in Northern California, the \u003cstrong>Mill Valley Film Festival\u003c/strong> has premiered several Oscar contenders in recent years, including \u003cem>The Artist, Silver Linings Playbook, Life of Pi\u003c/em> and more. With roughly 200 filmmakers from 50 countries in attendance, this festival’s 38th year features Sarah Silverman accepting an award and offering a Q&A after the screening of her new drama, \u003cem>I Smile Back\u003c/em>. Screenings take place at venues around Marin County; the Christopher B. Smith Rafael Film Center, Cinema Corte Madera, CineArts Sequoia, and the Lark Theatre, and hosts fun opening and closing night parties where attendees can hobnob with the stars.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922448\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922448\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-800x565.jpg\" alt='\"Land Grabbing\" screens at the UN Film Festival' width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-1180x834.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/UN-FF-Land-Grabbingedited.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Land Grabbing” screens at the UN Film Festival \u003ccite>(UN Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>United Nations Association Film Festival \u003c/h3>\n\u003ch5>Oct. 15 – 25\u003cbr>\nPalo Alto, Stanford, San Francisco\u003cbr>\n\u003ca href=\"http://www.unaff.org/2015/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Dedicated to honoring the Universal Declaration of Human Rights (UDHR), the 18th annual \u003cstrong>UN Film Festival\u003c/strong> screens 60 international documentaries over 11 days in several Bay Area locations (Palo Alto, Stanford University, East Palo Alto, San Francisco) this October. Working under this year’s theme of “Running Out of Time,” the festival highlights films that reveal the realities of issues around “human rights, the environment, protection of refugees, famine, homelessness, racism, disease control, women’s issues, children, universal education, war and peace.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922449\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10922449\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-800x385.jpg\" alt=\"Arab Film Festival: October 16-25 in San Francisco\" width=\"800\" height=\"385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-400x193.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-1180x569.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited-960x463.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Arab-Film-Festivaledited.jpg 1820w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arab Film Festival: October 16-25 in San Francisco\u003c/figcaption>\u003c/figure>\n\u003ch3>Arab Film Festival \u003c/h3>\n\u003ch5>Oct. 16 – 25\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>After a rough summer of being evicted from its office in San Francisco’s Mission District (rent increases anyone?), the largest independent Arab Film event in the nation is still on its toes and the festival remains scheduled for Oct. 16 – 25. The 19th annual \u003cstrong>Arab Film Festival\u003c/strong> features over 50 films from 20 countries and features the best in Arab Cinema outside the Middle East. An opening night premiere and kick-off party is set for Oct. 16 at The Castro Theater in San Francisco.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922450\" class=\"wp-caption alignleft\" style=\"max-width: 462px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/south-asian-film-fest.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/south-asian-film-fest.jpg\" alt=\"“Gulabi Gang,” screened at the 11th Annual San Francisco South Asian Film Festival \" width=\"462\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/south-asian-film-fest.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/south-asian-film-fest-400x267.jpg 400w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Gulabi Gang,” screened at the 11th Annual San Francisco South Asian Film Festival \u003ccite>(3rd i South Asian Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>International South Asian Film Festival\u003c/h3>\n\u003ch5>Oct. 22 – 25 and Nov. 1\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.thirdi.org/programs/film-festival/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Featuring films from Bangladesh, Bhutan, India, Nepal, the Maldives, Pakistan, Sri Lanka, Tibet, and the South Asian Diaspora, the 13th annual South Asian Film Festival’s theme this October is “Focus on Freedoms.” The spotlight features issues around gender and sexual equality, and the historical and contemporary legacy of freedom for India and Pakistan. Films screen in San Francisco and Palo Alto.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922526\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-19751.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922526\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-19751-800x578.jpg\" alt=\"40th Annual American Indian Film Festival Poster from 1975\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-19751.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">40th Annual American Indian Film Festival Poster from 1975 \u003ccite>(American Indian Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>40th Annual American Indian Film Festival\u003c/h3>\n\u003ch5>Nov. 6 – 14\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The \u003cstrong>American Indian Film Institute\u003c/strong> has brought the best in American Indian cinema to audiences since 1975. Featuring award-winning films like \u003cem>Smoke Signals, Frozen River, Tiger Eyes, Horse Tribe\u003c/em> and \u003cem>Atanarjuat: The Fast Runner\u003c/em>, the festival celebrates 40 years this November with a fantastic line-up of features, shorts, documentaries, animation, music videos and experimental films, along with the institute’s commitment to working with and empowering marginalized American Indian youth. Closing night features an award ceremony for beast feature film, best actor/actress and more. Tickets on sale October 1. (\u003cem>To read more about American Indian events in the Bay Area coming this fall, check out \u003ca href=\"http://ww2.kqed.org/arts/2015/09/10/real-american-culture-american-indian-arts-events-around-the-bay/\" target=\"_blank\" rel=\"noopener\">our guide in our Fall Arts section\u003c/a>.\u003c/em>)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922527\" class=\"wp-caption alignleft\" style=\"max-width: 472px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/trans-film-festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/trans-film-festival.jpg\" alt=\"19th annual Transgender Film Festival: November 12-15 in San Francisco\" width=\"472\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/trans-film-festival.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/trans-film-festival-400x203.jpg 400w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">19th annual Transgender Film Festival: November 12-15 in San Francisco\u003c/figcaption>\u003c/figure>\n\u003ch3>Transgender Film Festival\u003c/h3>\n\u003ch5>Nov. 12 – 15\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://sftff.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The \u003cstrong>Transgender Film Festival\u003c/strong> planted its roots in 1997 with the hopes of creating positive representation of trans and genderqueer people through cinema. The first trans film festival in the country, the event features an array of films made by and for the international trans community, including narrative, documentary, experimental, animated films and music videos. This year, the event returns to the Roxie Theater for film screenings, which launch on Nov. 12.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'East Side Sushi' Explores a Culture Clash Through Food in Oakland",
"title": "'East Side Sushi' Explores a Culture Clash Through Food in Oakland",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Yes, it’s a film about sushi, but that’s where any comparison with \u003ca href=\"http://ww2.kqed.org/bayareabites/2012/04/03/film-review-jiro-dreams-of-sushi/\" target=\"_blank\">that other film\u003c/a> ends.\u003c/p>\n\u003cp>After winning over audiences at numerous film festivals, “\u003ca href=\"http://www.eastsidesushifilm.com/\" target=\"_blank\">East Side Sushi\u003c/a>,” which takes place in Oakland, and was written and directed by East Oakland-raised filmmaker Anthony Lucero, will open locally September 18. Lucero will be present at the screening at the Grand Lake Theatre in Oakland on the 18\u003csup>th\u003c/sup>, and at the Sundance Kabuki Theater in San Francisco on the 19\u003csup>th\u003c/sup>. The film will be showing throughout the Bay Area, with \u003ca href=\"http://www.eastsidesushifilm.com/media.htm\" target=\"_blank\">all theaters listed\u003c/a> on the film's website.\u003c/p>\n\u003cfigure id=\"attachment_100426\" class=\"wp-caption alignright\" style=\"max-width: 461px\">\u003cimg class=\"size-full wp-image-100426\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/09/sushi2.jpeg\" alt=\"Juana takes over for her father selling fruit from a cart in East Oakland in East Side Sushi.\" width=\"461\" height=\"260\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi2.jpeg 461w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi2-400x226.jpeg 400w\" sizes=\"(max-width: 461px) 100vw, 461px\">\u003cfigcaption class=\"wp-caption-text\">Juana takes over for her father selling fruit from a cart in East Oakland in East Side Sushi. \u003ccite>(Photo courtesy of Anthony Lucero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie is about Juana, a Latina woman, who is extremely capable in the kitchen, and longs to do more than the lowliest restaurant jobs. A young, single mother who lives with her father and daughter, the trio is reliant on the income from her father’s fruit cart and from Juana’s cleaning job.\u003c/p>\n\u003cp>When she sees a help wanted sign in a sushi restaurant, Juana applies, even though it seems pretty clear that a piece of shiro maguro has never crossed her lips. While her father would prefer her to work at a taqueria – so at least he’ll be able to enjoy the food she brings home – she gets the job and is a fast learner, so fast that she quickly aspires to become a sushi chef, so she can interact with the customers, rather than doing prep work in the kitchen.\u003c/p>\n\u003cfigure id=\"attachment_100428\" class=\"wp-caption alignright\" style=\"max-width: 461px\">\u003cimg class=\"size-full wp-image-100428\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/09/sushi4.jpeg\" alt=\"Filmmaker Anthony Lucero.\" width=\"461\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi4.jpeg 461w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi4-400x240.jpeg 400w\" sizes=\"(max-width: 461px) 100vw, 461px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Anthony Lucero. \u003ccite>(Photo courtesy of Anthony Lucero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A graduate of San Francisco State’s film program, Lucero has done mostly documentaries, and has worked on special effects for some major Hollywood titles like the forthcoming Star Wars film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was inspired to write the story about Juana when one evening he began wondering about the inner life of a restaurant dishwasher.\u003c/p>\n\u003cp>While he began writing the screenplay with the lead character named Juan, who aspired to work in a French restaurant, he eventually changed him into Juana, and dropped French cuisine in lieu of sushi.\u003c/p>\n\u003cp>“I like that culture clash, or mix of Japanese and Mexicans in one story,” he said. “Plus sushi is very cinematic. Japanese food is incredibly beautiful.”\u003c/p>\n\u003cp>Furthermore, he appreciated how the added layer of sexism added to the challenges his protagonist faced.\u003c/p>\n\u003cp>“Of course women should be able to work wherever they want,” said Lucero. “It seems ridiculous that a woman can’t become a sushi chef, but if you saw one who wasn’t a Japanese male you’d think twice.”\u003c/p>\n\u003cfigure id=\"attachment_100427\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-100427\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/09/Sushi3.jpeg\" alt=\"Once Juana decides she wants to be a sushi chef, she spends time practicing at home. \" width=\"1280\" height=\"738\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3.jpeg 1280w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-400x231.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-800x461.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-1180x680.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-960x554.jpeg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Once Juana decides she wants to be a sushi chef, she spends time practicing at home. \u003ccite>(Photo courtesy of Anthony Lucero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a food lover himself, but one that doesn’t much like to cook, Lucero became driven by the idea of “what does it take to make good food? Is it your culture, or if you’re a man or woman, does that mean you can make something better than someone else?”\u003c/p>\n\u003cp>While the stars – Diana Elizabeth Torres as Juana and Yutaka Takeuchi as Aki, the sushi chef who becomes not only Juana’s mentor but her love interest – came from Los Angeles, much else about the film is homegrown, especially since as a low-budget movie, Lucero relied on the help of family and friends.\u003c/p>\n\u003cp>The reasons for this were threefold; “Why not film in Oakland?” asked Lucero. “It’s a cinematic city that’s beautiful to shoot wasn’t even a thought.” The fact that the movie had a blending of cultures as a theme also made it the perfect backdrop, he said, and then there was the purely practical reason.\u003c/p>\n\u003cp>“I could call my family to help out with food and craft services,” Lucero said, noting that while he had friends and family members feeding the cast, he could also ask a relative “can you hold that light stand over there?”\u003c/p>\n\u003cp>Perhaps the greatest compliment Lucero has received about the film is when viewers ask whether Aki the sushi chef, is a real sushi chef. The answer is decidedly no.\u003c/p>\n\u003cp>Given the low budget, Lucero’s first idea was for the actors to watch YouTube videos on sushi-making, or ask local chefs if they could observe them. But then on a whim, he called up the \u003ca href=\"http://www.sushischool.net/home.php\" target=\"_blank\">Sushi Chef Institute \u003c/a>in Torrance, to ask whether the actors could observe some classes. Instead, owner Andy Matsuda said he would teach the actors at no cost.\u003c/p>\n\u003cp>The actors had two weeks of training. And while they couldn’t afford to hire a sushi chef to be on set, since they filmed in real restaurants, occasionally, one came in to watch.\u003c/p>\n\u003cp>“Sometimes one would be there, and say ‘Put your knife here,’ or ‘Don’t do it that way,’” said Lucero.\u003c/p>\n\u003cp>Regulars of \u003ca href=\"http://www.coachsushi.com/Coach_Sushi.html\" target=\"_blank\">Coach Sushi\u003c/a> on Grand Avenue will recognize its interior as where much of the action takes place; the kitchen of \u003ca href=\"http://www.asbdama.com\" target=\"_blank\">B-Dama\u003c/a>, formerly on Piedmont Avenue, now downtown, is where the back of the restaurant action took place, and the scenes in the stockroom were shot at \u003ca href=\"http://mijorijapanese.com\" target=\"_blank\">Mijori Japanese Restaurant and Sushi Bar\u003c/a>, also on Grand. All the restaurants allowed Lucero to use their places for free, when they were closed.\u003c/p>\n\u003cp>Lucero expressed his gratitude that all three restaurants were so accommodating, noting that he did not know the owners of any of them before.\u003c/p>\n\u003cp>“We were desperate to find a place, or we were not going to make this movie,” he said. “But that didn’t happen. We had so many people who helped us with such amazing generosity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/XaMo7qN-OMg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, it’s a film about sushi, but that’s where any comparison with \u003ca href=\"http://ww2.kqed.org/bayareabites/2012/04/03/film-review-jiro-dreams-of-sushi/\" target=\"_blank\">that other film\u003c/a> ends.\u003c/p>\n\u003cp>After winning over audiences at numerous film festivals, “\u003ca href=\"http://www.eastsidesushifilm.com/\" target=\"_blank\">East Side Sushi\u003c/a>,” which takes place in Oakland, and was written and directed by East Oakland-raised filmmaker Anthony Lucero, will open locally September 18. Lucero will be present at the screening at the Grand Lake Theatre in Oakland on the 18\u003csup>th\u003c/sup>, and at the Sundance Kabuki Theater in San Francisco on the 19\u003csup>th\u003c/sup>. The film will be showing throughout the Bay Area, with \u003ca href=\"http://www.eastsidesushifilm.com/media.htm\" target=\"_blank\">all theaters listed\u003c/a> on the film's website.\u003c/p>\n\u003cfigure id=\"attachment_100426\" class=\"wp-caption alignright\" style=\"max-width: 461px\">\u003cimg class=\"size-full wp-image-100426\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/09/sushi2.jpeg\" alt=\"Juana takes over for her father selling fruit from a cart in East Oakland in East Side Sushi.\" width=\"461\" height=\"260\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi2.jpeg 461w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi2-400x226.jpeg 400w\" sizes=\"(max-width: 461px) 100vw, 461px\">\u003cfigcaption class=\"wp-caption-text\">Juana takes over for her father selling fruit from a cart in East Oakland in East Side Sushi. \u003ccite>(Photo courtesy of Anthony Lucero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie is about Juana, a Latina woman, who is extremely capable in the kitchen, and longs to do more than the lowliest restaurant jobs. A young, single mother who lives with her father and daughter, the trio is reliant on the income from her father’s fruit cart and from Juana’s cleaning job.\u003c/p>\n\u003cp>When she sees a help wanted sign in a sushi restaurant, Juana applies, even though it seems pretty clear that a piece of shiro maguro has never crossed her lips. While her father would prefer her to work at a taqueria – so at least he’ll be able to enjoy the food she brings home – she gets the job and is a fast learner, so fast that she quickly aspires to become a sushi chef, so she can interact with the customers, rather than doing prep work in the kitchen.\u003c/p>\n\u003cfigure id=\"attachment_100428\" class=\"wp-caption alignright\" style=\"max-width: 461px\">\u003cimg class=\"size-full wp-image-100428\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/09/sushi4.jpeg\" alt=\"Filmmaker Anthony Lucero.\" width=\"461\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi4.jpeg 461w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/sushi4-400x240.jpeg 400w\" sizes=\"(max-width: 461px) 100vw, 461px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Anthony Lucero. \u003ccite>(Photo courtesy of Anthony Lucero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A graduate of San Francisco State’s film program, Lucero has done mostly documentaries, and has worked on special effects for some major Hollywood titles like the forthcoming Star Wars film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was inspired to write the story about Juana when one evening he began wondering about the inner life of a restaurant dishwasher.\u003c/p>\n\u003cp>While he began writing the screenplay with the lead character named Juan, who aspired to work in a French restaurant, he eventually changed him into Juana, and dropped French cuisine in lieu of sushi.\u003c/p>\n\u003cp>“I like that culture clash, or mix of Japanese and Mexicans in one story,” he said. “Plus sushi is very cinematic. Japanese food is incredibly beautiful.”\u003c/p>\n\u003cp>Furthermore, he appreciated how the added layer of sexism added to the challenges his protagonist faced.\u003c/p>\n\u003cp>“Of course women should be able to work wherever they want,” said Lucero. “It seems ridiculous that a woman can’t become a sushi chef, but if you saw one who wasn’t a Japanese male you’d think twice.”\u003c/p>\n\u003cfigure id=\"attachment_100427\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-100427\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2015/09/Sushi3.jpeg\" alt=\"Once Juana decides she wants to be a sushi chef, she spends time practicing at home. \" width=\"1280\" height=\"738\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3.jpeg 1280w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-400x231.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-800x461.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-1180x680.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2015/09/Sushi3-960x554.jpeg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Once Juana decides she wants to be a sushi chef, she spends time practicing at home. \u003ccite>(Photo courtesy of Anthony Lucero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a food lover himself, but one that doesn’t much like to cook, Lucero became driven by the idea of “what does it take to make good food? Is it your culture, or if you’re a man or woman, does that mean you can make something better than someone else?”\u003c/p>\n\u003cp>While the stars – Diana Elizabeth Torres as Juana and Yutaka Takeuchi as Aki, the sushi chef who becomes not only Juana’s mentor but her love interest – came from Los Angeles, much else about the film is homegrown, especially since as a low-budget movie, Lucero relied on the help of family and friends.\u003c/p>\n\u003cp>The reasons for this were threefold; “Why not film in Oakland?” asked Lucero. “It’s a cinematic city that’s beautiful to shoot wasn’t even a thought.” The fact that the movie had a blending of cultures as a theme also made it the perfect backdrop, he said, and then there was the purely practical reason.\u003c/p>\n\u003cp>“I could call my family to help out with food and craft services,” Lucero said, noting that while he had friends and family members feeding the cast, he could also ask a relative “can you hold that light stand over there?”\u003c/p>\n\u003cp>Perhaps the greatest compliment Lucero has received about the film is when viewers ask whether Aki the sushi chef, is a real sushi chef. The answer is decidedly no.\u003c/p>\n\u003cp>Given the low budget, Lucero’s first idea was for the actors to watch YouTube videos on sushi-making, or ask local chefs if they could observe them. But then on a whim, he called up the \u003ca href=\"http://www.sushischool.net/home.php\" target=\"_blank\">Sushi Chef Institute \u003c/a>in Torrance, to ask whether the actors could observe some classes. Instead, owner Andy Matsuda said he would teach the actors at no cost.\u003c/p>\n\u003cp>The actors had two weeks of training. And while they couldn’t afford to hire a sushi chef to be on set, since they filmed in real restaurants, occasionally, one came in to watch.\u003c/p>\n\u003cp>“Sometimes one would be there, and say ‘Put your knife here,’ or ‘Don’t do it that way,’” said Lucero.\u003c/p>\n\u003cp>Regulars of \u003ca href=\"http://www.coachsushi.com/Coach_Sushi.html\" target=\"_blank\">Coach Sushi\u003c/a> on Grand Avenue will recognize its interior as where much of the action takes place; the kitchen of \u003ca href=\"http://www.asbdama.com\" target=\"_blank\">B-Dama\u003c/a>, formerly on Piedmont Avenue, now downtown, is where the back of the restaurant action took place, and the scenes in the stockroom were shot at \u003ca href=\"http://mijorijapanese.com\" target=\"_blank\">Mijori Japanese Restaurant and Sushi Bar\u003c/a>, also on Grand. All the restaurants allowed Lucero to use their places for free, when they were closed.\u003c/p>\n\u003cp>Lucero expressed his gratitude that all three restaurants were so accommodating, noting that he did not know the owners of any of them before.\u003c/p>\n\u003cp>“We were desperate to find a place, or we were not going to make this movie,” he said. “But that didn’t happen. We had so many people who helped us with such amazing generosity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XaMo7qN-OMg'\n title='//www.youtube.com/embed/XaMo7qN-OMg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "New Film Asks: Were Steve Jobs' Flaws Uploaded To His Machines?",
"headTitle": "New Film Asks: Were Steve Jobs’ Flaws Uploaded To His Machines? | KQED",
"content": "\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> hit theaters last week. Academy Award-winning director Alex Gibney’s documentary joins a growing list of biopics and biographies that have come out since \u003ca href=\"http://www.npr.org/2011/10/05/123826622/apple-visionary-steve-jobs-dies-at-56\" target=\"_blank\" rel=\"noopener\">Jobs’ death in 2011\u003c/a>. But, it adds a new perspective on the increasingly well-known facts of his life. Gibney’s thesis seems to be that Jobs’ flawed character was infused into the machines he made, leaving us perhaps a little more flawed if we use them.\u003c/p>\n\u003cp>The 2013 biopic starring Ashton Kutcher, the authorized \u003ca href=\"http://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\" target=\"_blank\" rel=\"noopener\">Walter Isaacson biography\u003c/a> and the more recent \u003cem>Becoming Steve Jobs: The Evolution of a Reckless Upstart into a Visionary Leader\u003c/em> all touch on how the Apple co-founder was often cruel in the pursuit of his vision to spark a personal computer revolution. But, they don’t question the good of what Jobs invented.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lzyq1t-SjcM\u003c/p>\n\u003cp>Gibney, fresh off his last documentary, \u003ca href=\"http://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener\">Going Clear\u003c/a> — a take-down of Scientology — now turns that critical lens on Steve Jobs and his products.\u003c/p>\n\u003cp>\u003ca href=\"http://www.magpictures.com/stevejobsthemaninthemachine/\" target=\"_blank\" rel=\"noopener\">The new documentary\u003c/a> opens on the day Jobs’ death is announced. We see mournful people all over the world placing flowers in front of Apple stores. There are clips from online video tributes. In one, a young man is weeping and he admits “it seems really ridiculous because I’ve never met the man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter Gibney’s voice as narrator: “Why did so many strangers weep for Steve Jobs?” It’s a question Gibney sets out to answer in his more than two-hour film that mixes archive footage, interviews with old colleagues, and even a never-before-seen video deposition of Jobs from March 2008, when he was being investigated for backdating stock options.\u003c/p>\n\u003cp>Many of the people interviewed for this documentary knew Jobs from his earliest days and had rightful gripes against him. Among them, Daniel Kottke, a college friend who traveled with Jobs to India and then went on to be part of the original founding Apple team. Even though Kottke worked intimately with Jobs to get Apple off the ground, Jobs notoriously refused to give him stock options when the company went public.\u003c/p>\n\u003cp>Gibney also interviewed Chrisann Brennan, Jobs’ former girlfriend who gave birth to his daughter Lisa out of wedlock. Jobs denied paternity for years. Gibney shares legal transcriptions in which, among other falsehoods, Jobs claimed he was sterile and couldn’t have a child. Only a court-ordered paternity test forced him to acknowledge his daughter.\u003c/p>\n\u003cp>Yet, Jobs once told his teacher, the Soto Zen priest Kobun Otogawa, that he was enlightened. Kobun says as proof a young Jobs brought him an early Apple computer board.\u003c/p>\n\u003cp>In \u003cem>Be Here Now\u003c/em>, a book that Brennan and Jobs loved, author Ram Dass talks about the problem of becoming enlightened while still being attached to ego. He calls it “the golden chain,” says Brennan. And Brennan believes this is what happened to Jobs. “He blew it,” she says.\u003c/p>\n\u003cp>“Steve Jobs blew it?” Gibney wonders how anyone could say that. The documentary acknowledges Jobs’ extraordinary successes. He was pushed out of Apple but went on to found Pixar. He returned to Apple and brought it back from the brink of bankruptcy and with one great success after another — the Mac, iPod, iPhone and iPad — he turned it into the most valuable company in the world.\u003c/p>\n\u003cp>But Gibney’s film ponders the cost of those products — not only on the people directly surrounding Jobs but on the world writ large. There’s news footage about the suicides at the Foxconn factories in China which helped build Apple products.\u003c/p>\n\u003cp>In an interview, Jobs is seen acknowledging the suicides are unacceptable and yet he’s also strangely dismissive. Jobs has to point out that the percentage of the U.S. population that commits suicide is higher than the percentage of Foxconn employees that do.\u003c/p>\n\u003cp>Apple factories also leave behind dangerous pollutants, and while Jobs was running the company he refused to meet with Chinese environmental activists.\u003c/p>\n\u003cp>Jon Rubinstein, an engineer who helped design the iPod and the Mac, tells Gibney that Jobs really did believe he was doing good for the world. But, Gibney brings in well-known skeptics to question just how much good Jobs has done.\u003c/p>\n\u003cp>Techno-utopian critic and MIT professor Sherry Turkle believes iPhones are isolating us from one another — “more of what I call the alone together phenomenon,” she says.\u003c/p>\n\u003cp>This film lacks interviews with the people who have been closest to Jobs in recent years and might have had a more positive perspective on him. We don’t hear from his wife Laurene or Tim Cook, the current CEO, and Jony Ive, the brilliant industrial designer whom Jobs called his “best friend.”\u003c/p>\n\u003cp>Apple Vice President Eddy Cue sent out a tweet calling the documentary “inaccurate” and “mean spirited.”\u003c/p>\n\u003cp>But many of the same people have also critiqued Walter Isaacson’s biography, which was authorized by Jobs himself. And Gibney makes a well-documented case.\u003c/p>\n\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> has a personal and poetic quality. Visually and structurally it sometimes feels more like an essay. Gibney ends it with questions that sound a little like a Zen koan. “Perhaps I should spend a moment… asking myself what in buying and using this product am I doing? What is the full nature of my transaction with the maker of this magical and intimate machine?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I doubt Gibney was thinking we should all throw our iPhones into the sea. But, his engaging documentary raises some questions we should all be asking ourselves as we move on to the next phase of the computer revolution. Among them: Do these objects shape our character in ways that are a little too much like the person who made them?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> hit theaters last week. Academy Award-winning director Alex Gibney’s documentary joins a growing list of biopics and biographies that have come out since \u003ca href=\"http://www.npr.org/2011/10/05/123826622/apple-visionary-steve-jobs-dies-at-56\" target=\"_blank\" rel=\"noopener\">Jobs’ death in 2011\u003c/a>. But, it adds a new perspective on the increasingly well-known facts of his life. Gibney’s thesis seems to be that Jobs’ flawed character was infused into the machines he made, leaving us perhaps a little more flawed if we use them.\u003c/p>\n\u003cp>The 2013 biopic starring Ashton Kutcher, the authorized \u003ca href=\"http://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\" target=\"_blank\" rel=\"noopener\">Walter Isaacson biography\u003c/a> and the more recent \u003cem>Becoming Steve Jobs: The Evolution of a Reckless Upstart into a Visionary Leader\u003c/em> all touch on how the Apple co-founder was often cruel in the pursuit of his vision to spark a personal computer revolution. But, they don’t question the good of what Jobs invented.\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/lzyq1t-SjcM'\n title='//www.youtube.com/embed/lzyq1t-SjcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gibney, fresh off his last documentary, \u003ca href=\"http://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener\">Going Clear\u003c/a> — a take-down of Scientology — now turns that critical lens on Steve Jobs and his products.\u003c/p>\n\u003cp>\u003ca href=\"http://www.magpictures.com/stevejobsthemaninthemachine/\" target=\"_blank\" rel=\"noopener\">The new documentary\u003c/a> opens on the day Jobs’ death is announced. We see mournful people all over the world placing flowers in front of Apple stores. There are clips from online video tributes. In one, a young man is weeping and he admits “it seems really ridiculous because I’ve never met the man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter Gibney’s voice as narrator: “Why did so many strangers weep for Steve Jobs?” It’s a question Gibney sets out to answer in his more than two-hour film that mixes archive footage, interviews with old colleagues, and even a never-before-seen video deposition of Jobs from March 2008, when he was being investigated for backdating stock options.\u003c/p>\n\u003cp>Many of the people interviewed for this documentary knew Jobs from his earliest days and had rightful gripes against him. Among them, Daniel Kottke, a college friend who traveled with Jobs to India and then went on to be part of the original founding Apple team. Even though Kottke worked intimately with Jobs to get Apple off the ground, Jobs notoriously refused to give him stock options when the company went public.\u003c/p>\n\u003cp>Gibney also interviewed Chrisann Brennan, Jobs’ former girlfriend who gave birth to his daughter Lisa out of wedlock. Jobs denied paternity for years. Gibney shares legal transcriptions in which, among other falsehoods, Jobs claimed he was sterile and couldn’t have a child. Only a court-ordered paternity test forced him to acknowledge his daughter.\u003c/p>\n\u003cp>Yet, Jobs once told his teacher, the Soto Zen priest Kobun Otogawa, that he was enlightened. Kobun says as proof a young Jobs brought him an early Apple computer board.\u003c/p>\n\u003cp>In \u003cem>Be Here Now\u003c/em>, a book that Brennan and Jobs loved, author Ram Dass talks about the problem of becoming enlightened while still being attached to ego. He calls it “the golden chain,” says Brennan. And Brennan believes this is what happened to Jobs. “He blew it,” she says.\u003c/p>\n\u003cp>“Steve Jobs blew it?” Gibney wonders how anyone could say that. The documentary acknowledges Jobs’ extraordinary successes. He was pushed out of Apple but went on to found Pixar. He returned to Apple and brought it back from the brink of bankruptcy and with one great success after another — the Mac, iPod, iPhone and iPad — he turned it into the most valuable company in the world.\u003c/p>\n\u003cp>But Gibney’s film ponders the cost of those products — not only on the people directly surrounding Jobs but on the world writ large. There’s news footage about the suicides at the Foxconn factories in China which helped build Apple products.\u003c/p>\n\u003cp>In an interview, Jobs is seen acknowledging the suicides are unacceptable and yet he’s also strangely dismissive. Jobs has to point out that the percentage of the U.S. population that commits suicide is higher than the percentage of Foxconn employees that do.\u003c/p>\n\u003cp>Apple factories also leave behind dangerous pollutants, and while Jobs was running the company he refused to meet with Chinese environmental activists.\u003c/p>\n\u003cp>Jon Rubinstein, an engineer who helped design the iPod and the Mac, tells Gibney that Jobs really did believe he was doing good for the world. But, Gibney brings in well-known skeptics to question just how much good Jobs has done.\u003c/p>\n\u003cp>Techno-utopian critic and MIT professor Sherry Turkle believes iPhones are isolating us from one another — “more of what I call the alone together phenomenon,” she says.\u003c/p>\n\u003cp>This film lacks interviews with the people who have been closest to Jobs in recent years and might have had a more positive perspective on him. We don’t hear from his wife Laurene or Tim Cook, the current CEO, and Jony Ive, the brilliant industrial designer whom Jobs called his “best friend.”\u003c/p>\n\u003cp>Apple Vice President Eddy Cue sent out a tweet calling the documentary “inaccurate” and “mean spirited.”\u003c/p>\n\u003cp>But many of the same people have also critiqued Walter Isaacson’s biography, which was authorized by Jobs himself. And Gibney makes a well-documented case.\u003c/p>\n\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> has a personal and poetic quality. Visually and structurally it sometimes feels more like an essay. Gibney ends it with questions that sound a little like a Zen koan. “Perhaps I should spend a moment… asking myself what in buying and using this product am I doing? What is the full nature of my transaction with the maker of this magical and intimate machine?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I doubt Gibney was thinking we should all throw our iPhones into the sea. But, his engaging documentary raises some questions we should all be asking ourselves as we move on to the next phase of the computer revolution. Among them: Do these objects shape our character in ways that are a little too much like the person who made them?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Despite lacking an abundance of mainstream recognition, the world of contemporary and traditional American Indian arts is thriving in the Bay Area. This fall, the public has several opportunities to celebrate the creative work of local Native groups—the Ohlone/Costanoan, Coast Miwok, Pomo, and Wappo people call the region home. From museum exhibits to American Indian cinema to community events, there is no shortage of opportunities to celebrate the rich history and legacy of the California’s American Indian community.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916678\" class=\"wp-caption alignleft\" style=\"max-width: 463px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg\" alt=\"8th Annual American Indian Heritage Celebration, San Jose\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">8th Annual American Indian Heritage Celebration, San Jose\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual American Indian Heritage Celebration\u003c/h3>\n\u003ch5>Sept. 12\u003cbr>\nSanta Clara County Fairgrounds, San Jose\u003cbr>\n\u003ca href=\"http://americanindianalliance.org/upcoming_events\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Less than a century ago, traditional Native American dances were banned by the United States and Canadian governments, with most traditional gatherings happening underground in order to avoid persecution. Today, intertribal dances are performed at public gatherings like the American Indian Heritage Celebration in San Jose. In addition to dances from Aztec and California groups (Amah Mutsun and Mi-Wuk), the traditional Big Time and Powwow event hosts an American Indian marketplace with arts, crafts and food vendors, and is also free to the public.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916676\" class=\"wp-caption alignleft\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg\" alt=\"“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\" width=\"703\" height=\"556\" class=\"size-thumbnail wp-image-10916676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243-400x316.jpg 400w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em>\u003c/h3>\n\u003ch5>Through December\u003cbr>\nCalifornia Indian Museum, Santa Rosa\u003cbr>\n\u003ca href=\"http://cimcc.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Known for their Pomo Language revitalization program and for a long-standing exhibit on California Yahi Indian, Ishi, the California Indian Museum in Santa Rosa celebrates the return of the \u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em> exhibit which will run through the fall and winter. The collection features baskets and traditional cradle baskets from Pomo, Miwok, Mono and Chumash weavers, some of which are over 100 years old. Because cradle baskets are rarely made for collectors, this collection features many authentic, traditional pieces on display.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916677\" class=\"wp-caption alignleft\" style=\"max-width: 531px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg\" alt='\"Ambassadors\" Novato' width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-400x452.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg 720w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ambassadors” Novato\u003c/figcaption>\u003c/figure>\n\u003ch3>Museum of the American Indian\u003c/h3>\n\u003ch5>Through Dec.\u003cbr>\nNovato\u003cbr>\n\u003ca href=\"http://www.marinindian.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Located at the site of a Coast Miwok village in Novato, Marin County’s Museum of the American Indian celebrates Native American day Sept. 12 with free admission. The museum currently hosts two exhibits, the first being \u003ci>Ambassadors,\u003c/i> which showcases lithographs of commissioned portraits of tribal leaders who journeyed to Washington D.C. for peace negotiations between 1821 and 1842. The original portraits were destroyed in a fire at The Smithsonian, but the 30 surviving lithographs are on display at the museum through the end of December. The other exhibit features the work of artist Edward Willie (Pomo, Walkiki, and Wintu). Willie received a Traditional Arts Grant from Creative Work Fund in 2011 and created the \u003ci>Kay Key Ya Project\u003c/i> at the museum, which showcases traditional Pomo dance regalia.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916679\" class=\"wp-caption alignleft\" style=\"max-width: 311px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10916679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\" alt=\"21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\" width=\"311\" height=\"270\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\u003c/figcaption>\u003c/figure>\n\u003ch3>21st Annual Indigenous People’s Day Powwow and Indian Market\u003c/h3>\n\u003ch5>Oct. 10\u003cbr>\nCivic Center Park, Berkeley\u003cbr>\n\u003ca href=\"http://ipdpowwow.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For 21 years, American Indians around the Bay Area have gathered in Berkeley to reclaim Columbus Day with an annual Indigenous People’s powwow and traditional Indian market. Intertribal groups, along with non-indigenous attendees, gather at Civic Center Park for a day of traditional dances and music for the powwow. The adjoining market place is full of contemporary and traditional Native American arts, crafts, and food(!) that can be purchased.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916680\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg\" alt=\"American Indian Film Festival poster from 1975 (Roger Fernandes)\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Indian Film Festival poster from 1975 (Roger Fernandes) \u003ccite>(American Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>40th Annual American Indian Film Festival\u003c/h3>\n\u003ch5>Nov. 6 – 14\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The American Indian Film Institute has brought the best in American Indian cinema to audiences since 1975. Featuring award-winning films like \u003cem>Smoke Signals, Frozen River, Tiger Eyes, Horse Tribe and Atanarjuat: The Fast Runner\u003c/em>, the festival celebrates 40 years this November with a fantastic lineup. It’s nothing but high quality features, shorts, documentaries, animation, music videos and experimental films. Also, by attending the festival, you’re also supporting the institute’s work with marginalized American Indian youth — expect some of their pieces in the lineup. Tickets on sale Oct. 1.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916681\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916681\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-800x450.jpg\" alt=\"Remnants of the occupation of Alcatraz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Remnants of the occupation of Alcatraz\u003c/figcaption>\u003c/figure>\n\u003ch3>Indigenous People’s Sunrise Ceremony\u003c/h3>\n\u003ch5>Nov. 26\u003cbr>\nAlcatraz\u003cbr>\n\u003ca href=\"https://www.facebook.com/treatycouncil\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A meaningful alternative to modern day Thanksgiving festivities, the Alcatraz Sunrise Ceremony takes place each year, commemorating the 1971 occupation of Alcatraz by the tribe of all nations. Inspired by the action and commitment to empower American Indians and to reclaim sovereignty, dancers from several American Indian groups come together for a pre-dawn ceremony on the rock. The event is free but ferry tickets to and from Alcatraz can be purchased through \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\" rel=\"noopener\">Blue and Gold Fleet ferries.\u003c/a>\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Despite lacking an abundance of mainstream recognition, the world of contemporary and traditional American Indian arts is thriving in the Bay Area. This fall, the public has several opportunities to celebrate the creative work of local Native groups—the Ohlone/Costanoan, Coast Miwok, Pomo, and Wappo people call the region home. From museum exhibits to American Indian cinema to community events, there is no shortage of opportunities to celebrate the rich history and legacy of the California’s American Indian community.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916678\" class=\"wp-caption alignleft\" style=\"max-width: 463px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg\" alt=\"8th Annual American Indian Heritage Celebration, San Jose\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/8th-AIHF.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">8th Annual American Indian Heritage Celebration, San Jose\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual American Indian Heritage Celebration\u003c/h3>\n\u003ch5>Sept. 12\u003cbr>\nSanta Clara County Fairgrounds, San Jose\u003cbr>\n\u003ca href=\"http://americanindianalliance.org/upcoming_events\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Less than a century ago, traditional Native American dances were banned by the United States and Canadian governments, with most traditional gatherings happening underground in order to avoid persecution. Today, intertribal dances are performed at public gatherings like the American Indian Heritage Celebration in San Jose. In addition to dances from Aztec and California groups (Amah Mutsun and Mi-Wuk), the traditional Big Time and Powwow event hosts an American Indian marketplace with arts, crafts and food vendors, and is also free to the public.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916676\" class=\"wp-caption alignleft\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg\" alt=\"“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\" width=\"703\" height=\"556\" class=\"size-thumbnail wp-image-10916676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/precious-cargo-1edited-e1441864214243-400x316.jpg 400w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">“Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions” in Santa Rosa\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em>\u003c/h3>\n\u003ch5>Through December\u003cbr>\nCalifornia Indian Museum, Santa Rosa\u003cbr>\n\u003ca href=\"http://cimcc.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Known for their Pomo Language revitalization program and for a long-standing exhibit on California Yahi Indian, Ishi, the California Indian Museum in Santa Rosa celebrates the return of the \u003cem>Precious Cargo: California Indian Cradle Baskets and Childbirth Traditions\u003c/em> exhibit which will run through the fall and winter. The collection features baskets and traditional cradle baskets from Pomo, Miwok, Mono and Chumash weavers, some of which are over 100 years old. Because cradle baskets are rarely made for collectors, this collection features many authentic, traditional pieces on display.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916677\" class=\"wp-caption alignleft\" style=\"max-width: 531px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916677\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg\" alt='\"Ambassadors\" Novato' width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-531x600.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited-400x452.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Ambassadorsedited.jpg 720w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ambassadors” Novato\u003c/figcaption>\u003c/figure>\n\u003ch3>Museum of the American Indian\u003c/h3>\n\u003ch5>Through Dec.\u003cbr>\nNovato\u003cbr>\n\u003ca href=\"http://www.marinindian.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Located at the site of a Coast Miwok village in Novato, Marin County’s Museum of the American Indian celebrates Native American day Sept. 12 with free admission. The museum currently hosts two exhibits, the first being \u003ci>Ambassadors,\u003c/i> which showcases lithographs of commissioned portraits of tribal leaders who journeyed to Washington D.C. for peace negotiations between 1821 and 1842. The original portraits were destroyed in a fire at The Smithsonian, but the 30 surviving lithographs are on display at the museum through the end of December. The other exhibit features the work of artist Edward Willie (Pomo, Walkiki, and Wintu). Willie received a Traditional Arts Grant from Creative Work Fund in 2011 and created the \u003ci>Kay Key Ya Project\u003c/i> at the museum, which showcases traditional Pomo dance regalia.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916679\" class=\"wp-caption alignleft\" style=\"max-width: 311px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10916679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley-pow-wow.jpg\" alt=\"21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\" width=\"311\" height=\"270\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">21st Annual Indigenous People’s Day Powwow and Indian Market, Berkeley\u003c/figcaption>\u003c/figure>\n\u003ch3>21st Annual Indigenous People’s Day Powwow and Indian Market\u003c/h3>\n\u003ch5>Oct. 10\u003cbr>\nCivic Center Park, Berkeley\u003cbr>\n\u003ca href=\"http://ipdpowwow.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For 21 years, American Indians around the Bay Area have gathered in Berkeley to reclaim Columbus Day with an annual Indigenous People’s powwow and traditional Indian market. Intertribal groups, along with non-indigenous attendees, gather at Civic Center Park for a day of traditional dances and music for the powwow. The adjoining market place is full of contemporary and traditional Native American arts, crafts, and food(!) that can be purchased.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916680\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916680\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg\" alt=\"American Indian Film Festival poster from 1975 (Roger Fernandes)\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AIFI-1975.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Indian Film Festival poster from 1975 (Roger Fernandes) \u003ccite>(American Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>40th Annual American Indian Film Festival\u003c/h3>\n\u003ch5>Nov. 6 – 14\u003cbr>\nSan Francisco\u003cbr>\n\u003ca href=\"http://www.aifisf.com/#homepage\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The American Indian Film Institute has brought the best in American Indian cinema to audiences since 1975. Featuring award-winning films like \u003cem>Smoke Signals, Frozen River, Tiger Eyes, Horse Tribe and Atanarjuat: The Fast Runner\u003c/em>, the festival celebrates 40 years this November with a fantastic lineup. It’s nothing but high quality features, shorts, documentaries, animation, music videos and experimental films. Also, by attending the festival, you’re also supporting the institute’s work with marginalized American Indian youth — expect some of their pieces in the lineup. Tickets on sale Oct. 1.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10916681\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10916681\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-800x450.jpg\" alt=\"Remnants of the occupation of Alcatraz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alcatraz.Tewy_-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Remnants of the occupation of Alcatraz\u003c/figcaption>\u003c/figure>\n\u003ch3>Indigenous People’s Sunrise Ceremony\u003c/h3>\n\u003ch5>Nov. 26\u003cbr>\nAlcatraz\u003cbr>\n\u003ca href=\"https://www.facebook.com/treatycouncil\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A meaningful alternative to modern day Thanksgiving festivities, the Alcatraz Sunrise Ceremony takes place each year, commemorating the 1971 occupation of Alcatraz by the tribe of all nations. Inspired by the action and commitment to empower American Indians and to reclaim sovereignty, dancers from several American Indian groups come together for a pre-dawn ceremony on the rock. The event is free but ferry tickets to and from Alcatraz can be purchased through \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\" rel=\"noopener\">Blue and Gold Fleet ferries.\u003c/a>\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Update: Thursday, Sept. 17, 2015: \u003c/strong>Well, it’s been over a week since our original post, and still no word on whether Le Video will fade to black or be able to sell its massive collection to the mystery business it has been in negotiation with — which would keep its 90,000 titles intact and available to the San Francisco public. (See below.)\u003c/p>\n\u003cp>Owner Catherine Tchen had hoped to hear from the prospective buyer by the end of last week, but she’s still on tenterhooks, as whoever it is apparently continues to weigh the deal.\u003c/p>\n\u003cp>“I’m assuming the adage, no news is good news,” she told me today. “I’m hopeful the deal will go through because the people know we’re on a time crunch. They’re totally aware of our deadline, and the deadline is how long can we pay the bills.”\u003c/p>\n\u003cp>Tchen said she is anxious to reach a resolution one way or the other because she wants customers who have purchased prepaid packages to have enough time to use their remaining rentals; she said she won’t be able to issue refunds. The store stopped selling these at the beginning of August, Tchen said, in anticipation of having to close.\u003c/p>\n\u003cp>As to the identity of the company she’s in discussion with, all she will say is, “It’s people who are film lovers and who really sustain the arts, and it would be a great home for the collection.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guesses, anyone?\u003c/p>\n\u003cp>\u003cstrong>Original post\u003c/strong>\u003c/p>\n\u003cp>No one really knows how many titles San Francisco’s \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a> has in stock. The store thinks it’s around 90,000, but that’s an estimate. The breadth of the collection, containing many rare and out-of-print films from around the world, has long elated browsing cinephiles, though much less frequently in recent years as consumers gravitated in throngs to online services like Netflix, Amazon and iTunes.\u003c/p>\n\u003cp>Now the story of the long slow decline of Le Video, an Inner Sunset fixture for 35 years, has reached what appears to be a climax: The store is currently in discussion with a prospective buyer, owner Catherine Tchen said, and if the deal doesn’t go through, Le Video will sell off its massive collection and close down by Dec. 31.\u003c/p>\n\u003cp>Tchen hopes to know the final outcome by Friday, she said.\u003c/p>\n\u003cp>So who might buy the store? Tchen wouldn’t say, but she thought the potential new owner would be a good fit in keeping the film’s huge inventory available.\u003c/p>\n\u003cp>“If [the deal] does go through it will really be amazing, because the people I’m talking to have the perfect form and have the perfect name and probably have the perfect energy in thinking out of the box for a collection like Le Video’s,” she said.\u003c/p>\n\u003cp>Tchen said if an agreement is reached, the store would move from its present location and might take a new name. “That doesn’t matter to me,” she said. “It’s being kept in one place and open to the public is my goal. If [the collection] belongs to a university, it’s OK for me, because I’ll recover a little bit of what I have put in of my personal money … but people wouldn’t have access to it.\u003c/p>\n\u003cp>“The people I’m talking to will keep it open to the public. It will have room to grow and be much more. I assume it will be a store; it might also be cross-promoted with what they do.”\u003c/p>\n\u003cp>But if a deal can’t be reached, she said, she will sell the collection to the public, in what is bound to be a frenzy of film lovers looking for cinematic gold. “All the movies would be up for sale,” Tchen said. “Every week the price would go down.”\u003c/p>\n\u003cp>Le Video’s dwindling customer base has seen this movie before, so to speak. In March 2014, Tchen wrote on Facebook that barring a “miracle,” she would shut down at the end of April. The store had been losing money for years, and she could no longer afford to house the copious but unprofitable collection in the large ground floor of the building she owns, rather than renting the space out.\u003c/p>\n\u003cp>But the store used a successful Indiegogo campaign to finance a transition to an upstairs space one-fourth the size, renting out the bottom floor to Green Apple Books, another iconic San Francisco retailer. But John Taylor, the store’s manager and buyer, said business has dropped by about another one-third since the move.\u003c/p>\n\u003cp>“Mainly just people didn’t know we were here,” he said. “They’d walk by and see the bookstore, and no matter how many signs we have out front, no one sees them. People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’ People just assumed we were closed and there’s no way to really change that perception.”\u003c/p>\n\u003cp>Tchen, for her part, said the problem lies in the store’s enthusiastic but infrequent customer base. “People call and say, ‘Do you have this?’ and say, ‘Oh my God, I can’t believe you have it, you were my last resort.’ People think about us when they’ve exhausted every other resource. And of course we have what they want 99 percent of the time. The problem is we can’t keep the door open.” She said more than 3,000 new customers came in from January to May, “but most of those people came once because they just couldn’t find it anywhere else.”\u003c/p>\n\u003cp>Tchen, 61, lives in Portland and is a native of Paris. She came to San Francisco in 1976. She started Le Video as a window display in her camera store, and it eventually took over. She said the building is her only means of income, and she simply cannot afford anymore to subsidize the business, in part because she has to support her mother, who has dementia.\u003c/p>\n\u003cp>“I don’t have a penny left to put toward it,” she said. “My greatest satisfaction has always been to be able to buy everything, to hunt for movies. I can’t hunt anymore because I can’t even afford to buy what comes out in this country.”\u003c/p>\n\u003cp>If the deal that is now under consideration falls through, she would be open to another buyer if one emerged, she said. However, the sale of the collection would commence sooner rather than later.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This post was corrected to note that Le Video had 3,000 customers from January to May, not just in May. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update: Thursday, Sept. 17, 2015: \u003c/strong>Well, it’s been over a week since our original post, and still no word on whether Le Video will fade to black or be able to sell its massive collection to the mystery business it has been in negotiation with — which would keep its 90,000 titles intact and available to the San Francisco public. (See below.)\u003c/p>\n\u003cp>Owner Catherine Tchen had hoped to hear from the prospective buyer by the end of last week, but she’s still on tenterhooks, as whoever it is apparently continues to weigh the deal.\u003c/p>\n\u003cp>“I’m assuming the adage, no news is good news,” she told me today. “I’m hopeful the deal will go through because the people know we’re on a time crunch. They’re totally aware of our deadline, and the deadline is how long can we pay the bills.”\u003c/p>\n\u003cp>Tchen said she is anxious to reach a resolution one way or the other because she wants customers who have purchased prepaid packages to have enough time to use their remaining rentals; she said she won’t be able to issue refunds. The store stopped selling these at the beginning of August, Tchen said, in anticipation of having to close.\u003c/p>\n\u003cp>As to the identity of the company she’s in discussion with, all she will say is, “It’s people who are film lovers and who really sustain the arts, and it would be a great home for the collection.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guesses, anyone?\u003c/p>\n\u003cp>\u003cstrong>Original post\u003c/strong>\u003c/p>\n\u003cp>No one really knows how many titles San Francisco’s \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a> has in stock. The store thinks it’s around 90,000, but that’s an estimate. The breadth of the collection, containing many rare and out-of-print films from around the world, has long elated browsing cinephiles, though much less frequently in recent years as consumers gravitated in throngs to online services like Netflix, Amazon and iTunes.\u003c/p>\n\u003cp>Now the story of the long slow decline of Le Video, an Inner Sunset fixture for 35 years, has reached what appears to be a climax: The store is currently in discussion with a prospective buyer, owner Catherine Tchen said, and if the deal doesn’t go through, Le Video will sell off its massive collection and close down by Dec. 31.\u003c/p>\n\u003cp>Tchen hopes to know the final outcome by Friday, she said.\u003c/p>\n\u003cp>So who might buy the store? Tchen wouldn’t say, but she thought the potential new owner would be a good fit in keeping the film’s huge inventory available.\u003c/p>\n\u003cp>“If [the deal] does go through it will really be amazing, because the people I’m talking to have the perfect form and have the perfect name and probably have the perfect energy in thinking out of the box for a collection like Le Video’s,” she said.\u003c/p>\n\u003cp>Tchen said if an agreement is reached, the store would move from its present location and might take a new name. “That doesn’t matter to me,” she said. “It’s being kept in one place and open to the public is my goal. If [the collection] belongs to a university, it’s OK for me, because I’ll recover a little bit of what I have put in of my personal money … but people wouldn’t have access to it.\u003c/p>\n\u003cp>“The people I’m talking to will keep it open to the public. It will have room to grow and be much more. I assume it will be a store; it might also be cross-promoted with what they do.”\u003c/p>\n\u003cp>But if a deal can’t be reached, she said, she will sell the collection to the public, in what is bound to be a frenzy of film lovers looking for cinematic gold. “All the movies would be up for sale,” Tchen said. “Every week the price would go down.”\u003c/p>\n\u003cp>Le Video’s dwindling customer base has seen this movie before, so to speak. In March 2014, Tchen wrote on Facebook that barring a “miracle,” she would shut down at the end of April. The store had been losing money for years, and she could no longer afford to house the copious but unprofitable collection in the large ground floor of the building she owns, rather than renting the space out.\u003c/p>\n\u003cp>But the store used a successful Indiegogo campaign to finance a transition to an upstairs space one-fourth the size, renting out the bottom floor to Green Apple Books, another iconic San Francisco retailer. But John Taylor, the store’s manager and buyer, said business has dropped by about another one-third since the move.\u003c/p>\n\u003cp>“Mainly just people didn’t know we were here,” he said. “They’d walk by and see the bookstore, and no matter how many signs we have out front, no one sees them. People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’ People just assumed we were closed and there’s no way to really change that perception.”\u003c/p>\n\u003cp>Tchen, for her part, said the problem lies in the store’s enthusiastic but infrequent customer base. “People call and say, ‘Do you have this?’ and say, ‘Oh my God, I can’t believe you have it, you were my last resort.’ People think about us when they’ve exhausted every other resource. And of course we have what they want 99 percent of the time. The problem is we can’t keep the door open.” She said more than 3,000 new customers came in from January to May, “but most of those people came once because they just couldn’t find it anywhere else.”\u003c/p>\n\u003cp>Tchen, 61, lives in Portland and is a native of Paris. She came to San Francisco in 1976. She started Le Video as a window display in her camera store, and it eventually took over. She said the building is her only means of income, and she simply cannot afford anymore to subsidize the business, in part because she has to support her mother, who has dementia.\u003c/p>\n\u003cp>“I don’t have a penny left to put toward it,” she said. “My greatest satisfaction has always been to be able to buy everything, to hunt for movies. I can’t hunt anymore because I can’t even afford to buy what comes out in this country.”\u003c/p>\n\u003cp>If the deal that is now under consideration falls through, she would be open to another buyer if one emerged, she said. However, the sale of the collection would commence sooner rather than later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This post was corrected to note that Le Video had 3,000 customers from January to May, not just in May. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Set during the attacks of 9/11, a young girl wishes she could go back in time. A short film by Eusong Lee. Made at CalArts Film and Video.\u003c/p>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=N3fjz_830x4?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/10/time-to-remember-will-and-911/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/10/time-to-remember-will-and-911/\" target=\"_blank\" title=\"Time to Remember: ‘Will’ and 9/11\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Set during the attacks of 9/11, a young girl wishes she could go back in time. A short film by Eusong Lee. Made at CalArts Film and Video.\u003c/p>\n\u003cspan>[youtube http://www.youtube.com/watch?v=N3fjz_830x4?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/10/time-to-remember-will-and-911/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "Bechdel Test Gets its Own Movie Night at the New Parkway",
"headTitle": "Bechdel Test Gets its Own Movie Night at the New Parkway | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bechdel-test-movie-night-thelma-louise/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Bechdel Test Movie Night: ‘Thelma & Louise’\u003c/h2>\n\u003cdiv class=\"event-desc\">Geena and Susan hit the road.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 13, 2015, 5pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">New Parkway Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bechdel-test-movie-night-thelma-louise/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On Sunday, Sept. 13, Oakland’s New Parkway Theater launches the \u003ca href=\"https://www.facebook.com/BechdelTestMovieNight\" target=\"_blank\" rel=\"noopener\">Bechdel Test Movie Night\u003c/a>. The new monthly series will delight those who like their movies to more fairly depict one half of the world’s population. That’s right, women!\u003c/p>\n\u003cp>The \u003ca href=\"http://bechdeltest.com/\" target=\"_blank\" rel=\"noopener\">Bechdel Test\u003c/a>, named for a 1985 strip in Alison Bechdel’s comic “Dykes to Watch Out For,” holds a work of fiction up to what should be a fairly simple standard: two named female characters talk to each other about something other than a man.\u003c/p>\n\u003cfigure id=\"attachment_10947316\" class=\"wp-caption alignright\" style=\"max-width: 339px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/parkway.jpg\" alt=\"Illustration by C.A. Greenlee\" width=\"339\" height=\"406\" class=\"size-full wp-image-10947316\">\u003cfigcaption class=\"wp-caption-text\">Illustration by C.A. Greenlee\u003c/figcaption>\u003c/figure>\n\u003cp>But that was 30 years ago. Surely such benchmarks shouldn’t be too difficult to reach nowadays? If only that were the case. A \u003ca href=\"http://annenberg.usc.edu/news/research/want-work-hollywood-only-straight-white-men-need-apply\" target=\"_blank\" rel=\"noopener\">study\u003c/a> released by the USC Annenberg School for Communication and Journalism in early August, found that of the top-grossing films of 2014, less than one-third of all speaking characters were female. The ratio of male to female speaking parts in the 700 top-grossing films from 2007 to 2014 was 2.3 to 1.\u003c/p>\n\u003cp>Enter Cheryl Dunye, Bay Area artist, filmmaker and educator. At this year’s Frameline film festival, Dunye learned of a European cinema showing only Bechdel Test-approved movie and pitched a similar concept to the New Parkway on a three-month trial basis. She is joined by a small team, C.A. Greenlee, Jackelyn Perez and Julia Robertson, who will help curate, organize and promote the movie night.\u003c/p>\n\u003cp>First up on the schedule is Ridley Scott’s 1991 film \u003cem>Thelma & Louise\u003c/em>, starring Geena Davis, Susan Sarandon and a turquoise 1966 Ford Thunderbird. What starts as a fishing trip escalates into hold ups, explosions and a dramatic conclusion at the edge of the Grand Canyon. Do the women have names? Yep, the whole movie’s named after them. And do they talk to each other? Check. About a variety of things? Absolutely! \u003cem>Thelma & Louise\u003c/em> passes the Bechdel Test with flying colors — and it’s a fantastic road trip, crime thriller, feminist revenge buddy flick to boot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2iBFmKlO4BY\u003c/p>\n\u003cp>Each Bechdel Test Movie Night will feature a post-film discussion, with Dunye hosting the first Q&A. She thinks the New Parkway’s cosy combination of tables, couches, beer and food is an ideal environment for real conversations about these movies and the issues they bring up.\u003c/p>\n\u003cp>“Its everybody’s responsibility to join the conversation about representation and the movies,” Dunye says.\u003c/p>\n\u003cp>She also sees the series as a way to broach even bigger-picture ideas about representation in storytelling. Can we extend the Bechdel Test to those working behind the camera? Can we start to apply the test to all types of narrative forms — not just feature films? Already the Bechdel Test is the launching point for several related standards, including the Racial Bechdel Test (for representation of people of color), the Mako Mori Test (for a female character with a strong plot line) and the Vito Russo Test (for LGBT representation).\u003c/p>\n\u003cp>The same USC Annenberg study found only 26.9 percent of characters in the top-grossing films of 2014 were from an underrepresented racial or ethnic group. Meanwhile, less than .5 percent were LGBT-identified and not a single transgender character was portrayed. Dylan Marron’s \u003ca href=\"http://ww2.kqed.org/pop/tumblr-video-series-every-single-word-dylan-marron-reveals-how-rarely-people-of-color-speak-in-popular-films\" target=\"_blank\" rel=\"noopener\">Every Single Word\u003c/a> video project, in which films are edited down to only the lines spoken by characters of color, puts these statistics front and center.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Dunye and team, \u003cem>Thelma & Louise\u003c/em> is just the beginning. Their challenge now is to prove this series is not only important, but can also be popular. Though with \u003cem>Aliens\u003c/em> (Oct. 11) and \u003cem>Foxy Brown\u003c/em> (Nov. 8) coming up, it shouldn’t be too hard to fill the New Parkway with an audience hungry for the kind of movie Hollywood so often fails to make.\u003c/p>\n\n",
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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/2iBFmKlO4BY'\n title='//www.youtube.com/embed/2iBFmKlO4BY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Each Bechdel Test Movie Night will feature a post-film discussion, with Dunye hosting the first Q&A. She thinks the New Parkway’s cosy combination of tables, couches, beer and food is an ideal environment for real conversations about these movies and the issues they bring up.\u003c/p>\n\u003cp>“Its everybody’s responsibility to join the conversation about representation and the movies,” Dunye says.\u003c/p>\n\u003cp>She also sees the series as a way to broach even bigger-picture ideas about representation in storytelling. Can we extend the Bechdel Test to those working behind the camera? Can we start to apply the test to all types of narrative forms — not just feature films? Already the Bechdel Test is the launching point for several related standards, including the Racial Bechdel Test (for representation of people of color), the Mako Mori Test (for a female character with a strong plot line) and the Vito Russo Test (for LGBT representation).\u003c/p>\n\u003cp>The same USC Annenberg study found only 26.9 percent of characters in the top-grossing films of 2014 were from an underrepresented racial or ethnic group. Meanwhile, less than .5 percent were LGBT-identified and not a single transgender character was portrayed. Dylan Marron’s \u003ca href=\"http://ww2.kqed.org/pop/tumblr-video-series-every-single-word-dylan-marron-reveals-how-rarely-people-of-color-speak-in-popular-films\" target=\"_blank\" rel=\"noopener\">Every Single Word\u003c/a> video project, in which films are edited down to only the lines spoken by characters of color, puts these statistics front and center.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Dunye and team, \u003cem>Thelma & Louise\u003c/em> is just the beginning. Their challenge now is to prove this series is not only important, but can also be popular. Though with \u003cem>Aliens\u003c/em> (Oct. 11) and \u003cem>Foxy Brown\u003c/em> (Nov. 8) coming up, it shouldn’t be too hard to fill the New Parkway with an audience hungry for the kind of movie Hollywood so often fails to make.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you want to measure a society’s political health, two films from Latin America slyly suggest, look at how it treats the help. Sebastian Silva’s gleeful 2009 black comedy, \u003cem>The Maid\u003c/em>, drew on his own experience as the cosseted son of a well-to-do Chilean family propped up by its housekeeper. Brazilian filmmaker Anna Muylaert began writing her new film, \u003cem>The Second Mother\u003c/em>, two decades ago, when she hired a nanny to care for her first child. It’s a quieter, more ruminative comedy, but like Silva, Muylaert is as alive to the comic possibilities of liberal guilt as she is to the plight of the ill-paid maids who quietly run innumerable households all around the Americas.\u003c/p>\n\u003cp>The second mother in Muylaert’s film is Val (a very good Regina Casé), a middle-aged housekeeper who keeps everyone on track in the home of an affluent Sao Paulo family. She cooks, cleans and openly dotes on their son, Fabinho (Michel Joelsas), a spoiled wastrel who still runs to Val to get his hair stroked whenever he’s crossed. If Val is the help, her employers are the helpless. Clearing the table is beyond them, and their friends are no better: At a birthday party for her employer, Dona Barbara (Karine Teles), we follow Val as she goes around with a tray of appetizers, receiving not a word of thanks. A willing accomplice to this lopsided arrangement, Val fetches and carries without complaint, pausing only to grab bits of power here and there that serve only to keep her locked in place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SOrbWcObwR4\u003c/p>\n\u003cp>Smugly playing the enlightened employer, Dona Barbara takes a fleeting interest in Val’s life only when it costs her nothing. She talks a good game, but to fully understand the warped political economy of this household, you have to follow the camera as it trails after Val like a faithful dog, lingering on the kitchen door that both connects and cordons off her domain with the family’s, or on the hallway that leads to the guest room, significantly more lavish than Val’s cramped quarters.\u003c/p>\n\u003cp>There, a Disruptive Force has set up operations that will trigger a rising tide of violations of the unwritten code that has made this well-oiled system of servitude work well past its sell-by date. Val’s estranged daughter, Jessica (Camila Mardila), has blown into town to take her entrance exam at a prestigious local university, where — to the family’s barely suppressed disbelief — she plans to study architecture. A cocksure beauty bearing a massive grudge against her mother, Jessica is also the distillation of a new generation of Brazilians unbound by the archaic hierarchies that hold her mother hostage. Aghast at Val’s collusion with her masters, she sets about breaking every rule in the house, while Val, appalled in her turn, strives unbidden to restore the status quo. In the ensuing chaos, the patriarch (Lourenco Mutarelli), a trust-fund baby with more money than sense, floors Jessica with a bizarre proposition that quickens the pace into farce, plunging the entire house into a crisis that will bring down its \u003cem>ancien regime\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There may or may not be metaphor at work here regarding Brazil’s relationship with its autocratic past. Either way, it’s hard to begrudge this warmhearted movie its crowd-pleasing ending, which bestows on every player the gift of a new beginning. One way or another, everyone gets out of jail, but no liberation is more gratifying than that of hard-working Val, who opens her eyes at last and takes her cue from a daughter pugnacious enough to insist on her own destiny.\u003c/p>\n\n",
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"content": "\u003cp>Dear reader! We find ourselves on a Friday afternoon before Labor Day weekend, perched on the precipice of three long days of freedom, cookouts and \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hiero-day/\" target=\"_blank\">massive block parties\u003c/a>.\u003c/p>\n\u003cp>You're not doing any \u003cem>actual work\u003c/em>, are you? Of course not. So there's no time like the present to catch up on what you missed this week in pop culture.\u003c/p>\n\u003cp>\u003cstrong>1. American hero Robert Wright ran back into a burning building in Fresno, after making sure his family was okay, to save a rack of barbecued ribs.\u003c/strong>\u003c/p>\n\u003cp>“First thing, I got my kids, and I thought about my ribs. Like, I didn’t want my ribs to burn and stuff because I take pride in what I do, man,” \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-fresno-ribs-man-interview-html-20150903-htmlstory.html\" target=\"_blank\">said the West Oakland native and instantaneous worldwide role model\u003c/a>. Something to think about at your BBQs this weekend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zCLpRR-wVo0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. Director/writer/producer/man responsible for all your childhood nightmares Wes Craven died this week at the age of 76.\u003c/strong>\u003c/p>\n\u003cp>Here's a great video essay from RogerEbert.com, featuring audio of Craven speaking about his work and, naturally, what the filmmaker wanted on his gravestone.\u003c/p>\n\u003cp>https://vimeo.com/138055103\u003c/p>\n\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViwtNLUqkMY\u003c/p>\n\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rGxHBjVc4Rw\u003c/p>\n\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qQNY_nihI90\u003c/p>\n\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear reader! We find ourselves on a Friday afternoon before Labor Day weekend, perched on the precipice of three long days of freedom, cookouts and \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hiero-day/\" target=\"_blank\">massive block parties\u003c/a>.\u003c/p>\n\u003cp>You're not doing any \u003cem>actual work\u003c/em>, are you? Of course not. So there's no time like the present to catch up on what you missed this week in pop culture.\u003c/p>\n\u003cp>\u003cstrong>1. American hero Robert Wright ran back into a burning building in Fresno, after making sure his family was okay, to save a rack of barbecued ribs.\u003c/strong>\u003c/p>\n\u003cp>“First thing, I got my kids, and I thought about my ribs. Like, I didn’t want my ribs to burn and stuff because I take pride in what I do, man,” \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-fresno-ribs-man-interview-html-20150903-htmlstory.html\" target=\"_blank\">said the West Oakland native and instantaneous worldwide role model\u003c/a>. Something to think about at your BBQs this weekend.\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/zCLpRR-wVo0'\n title='//www.youtube.com/embed/zCLpRR-wVo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>2. Director/writer/producer/man responsible for all your childhood nightmares Wes Craven died this week at the age of 76.\u003c/strong>\u003c/p>\n\u003cp>Here's a great video essay from RogerEbert.com, featuring audio of Craven speaking about his work and, naturally, what the filmmaker wanted on his gravestone.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\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/ViwtNLUqkMY'\n title='//www.youtube.com/embed/ViwtNLUqkMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\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/rGxHBjVc4Rw'\n title='//www.youtube.com/embed/rGxHBjVc4Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qQNY_nihI90'\n title='//www.youtube.com/embed/qQNY_nihI90'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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