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"title": "2015 S.F. Jewish Film Festival Embraces Inconvenient Truths",
"headTitle": "2015 S.F. Jewish Film Festival Embraces Inconvenient Truths | 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/san-francisco-jewish-film-festival-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Jewish Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Annual film fest with diverse films for a diverse community.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Aug. 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-jewish-film-festival-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The old advertising tagline and pop culture catchphrase “You don’t have to be Jewish to like…” has special relevance for the 35th edition of the San Francisco Jewish Film Festival.\u003c/p>\n\u003cp>A surprising number of the films have no discernible Jewish content (East Bay filmmaker Rick Goldsmith’s \u003cem>Mind/Game: The Unquiet Life of Chamique Holdsclaw\u003c/em>, Abigail Disney’s \u003cem>The Armor of Light\u003c/em>) or a single fleeting reference to the central character’s ancestry (Kevin Kerslake’s \u003cem>As I Am: The Life and Times of DJ AM\u003c/em>, French writer-director Karin Albou’s \u003cem>My Shortest Love Affair\u003c/em>). It’s another piece of evidence that the traditional identity of identity-oriented film festivals in the Bay Area is shifting before our eyes.\u003c/p>\n\u003cp>This is plainly strategic on the part of the SFJFF, which runs July 23 through Aug. 2 at the Castro with additional dates in Palo Alto, Berkeley, Oakland and San Rafael. The aim, presumably, is to reach a broader (and younger) audience and provoke conversations beyond the Jewish community’s usual left-right standoffs. (You never know, you might even overhear a fresh perspective on the newly struck deal with Iran in the lobby.)\u003c/p>\n\u003cp>The big picture is a less pressing concern to you, I expect, than the perennial questions: What’s good? What should I see? I’m glad you asked.\u003c/p>\n\u003cfigure id=\"attachment_10853816\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Censored-Voices.jpg\" alt=\"'Censored Voices' (Photo: SFJFF)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Censored-Voices.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Censored-Voices-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Censored Voices’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/censored-voices/\" target=\"_blank\" rel=\"noopener\">Censored Voices\u003c/a>\u003c/h3>\n\u003ch5>Aug. 1, 2:50pm and Aug. 2, 1:30 pm at the Castro Theatre\u003c/h5>\n\u003cp>History continually presents us with inconvenient and uncomfortable truths that are best acknowledged, even belatedly. Israeli director Mor Loushy unearths shockingly candid audio interviews conducted by writer Amos Oz with young kibbutzniks immediately after their safe return from the Six Day War. Half a century on, they demolish the cherished myth of the heroic underdog with no goals beyond fighting for survival and describe the first stage of the Palestinian occupation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o5Loacb9_zI\u003c/p>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/finsterworld/\" target=\"_blank\" rel=\"noopener\">Finsterworld\u003c/a>\u003c/h3>\n\u003ch5>Aug. 1, 9:10pm at the Castro Theatre; Aug. 8, 4:25pm at the Lakeside Theater\u003c/h5>\n\u003cp>Frauke Finsterwalder’s wonderfully absurdist and ultimately disturbing fable peers into the German soul and finds a bottomless pool of affluent self-hatred. Inhabiting an accessible middle ground between the deadpan alienation of Swedish filmmaker Roy Andersson and the deadpan cruelty of Austrian Ulrich Seidl (who’s name-checked, along with Antonioni, by a hilariously calculating documentary filmmaker), \u003cem>Finsterworld\u003c/em> interweaves a pedicurist bonding with an elderly client, a cop with a secret taste for Furries and a high school bus trip to a concentration camp that goes stunningly wrong.\u003c/p>\n\u003cfigure id=\"attachment_10853819\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/In-Silence.jpg\" alt=\"'In Silence' (Photo: SFJFF)\" width=\"640\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/In-Silence.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/In-Silence-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘In Silence’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/in-silence/\" target=\"_blank\" rel=\"noopener\">In Silence\u003c/a>\u003c/h3>\n\u003ch5>July 24, 12:00pm at the Castro Theatre; July 27, 2:40pm at CineArts; Aug. 9, 12:30pm at the Lakeside Theater\u003c/h5>\n\u003cp>The Czech Republic and Slovakia send this gorgeous, audacious depiction of the Nazi war on Jews and culture in the East. Tracing the journeys of a handful of popular real-life composers, dancers and musicians, director Zdeněk Jiráský recreates the champagne-and-diamonds 1930s before thrusting us into the harsh blacks and grays of the concentration camps. Jiráský takes a huge risk by evoking the unimaginable horror of reality, but he succeeds in making us feel a different quality of pain and despair than, say, Roman Polanski’s great portrait of the destruction of civilization, \u003cem>The Pianist\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10853822\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853822\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Rosenwald.jpg\" alt=\"'Rosenwald' (Photo: SFJFF)\" width=\"640\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Rosenwald.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Rosenwald-400x259.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Rosenwald’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/rosenwald/\" target=\"_blank\" rel=\"noopener\">Rosenwald\u003c/a>\u003c/h3>\n\u003ch5>July 31, 6:30pm at the Castro Theatre\u003c/h5>\n\u003cp>The son of a traveling 19th-century immigrant peddler, Julius Rosenwald was the managerial maven who turned Sears Roebuck into a behemoth. This captain of Chicago industry was also an extraordinary philanthropist whose signal accomplishments, according to Aviva Kempner’s prosaic yet highly informative documentary, were partnering with Booker T. Washington to build more than 5,000 African-American schools in the South and providing grants to up-and-coming black artists. Slated for a Bay Area theatrical release in September, \u003cem>Rosenwald\u003c/em> rediscovers a black-Jewish connection with many happy consequences that preceded the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10853818\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Go-Go-Boys.jpg\" alt=\"'The Go-Go Boys: The Inside Story of Cannon Films' (Photo: SFJFF)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Go-Go-Boys.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Go-Go-Boys-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The Go-Go Boys: The Inside Story of Cannon Films’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/go-go-boys-the-the-inside-story-of-cannon-films/\" target=\"_blank\" rel=\"noopener\">The Go-Go Boys: The Inside Story of Cannon Films\u003c/a>\u003c/h3>\n\u003ch5>July 25, 6:50pm at the Castro Theatre; July 27, 6:30pm at CineArts; Aug. 2, 6:30pm at the California; Aug. 9, 4:20pm at the Smith Rafael Film Center\u003c/h5>\n\u003cp>Menahem Golan and Yoram Globus, Israeli cousins who relocated to Los Angeles, ruled the 1980s with a nonstop flurry of action-oriented exploitation movies. They loved the primal pleasures of making and watching movies, but coveted the respect of their peers embodied in the Oscar statuette. The prolific Hilla Medalia (\u003cem>Web Junkie\u003c/em>, \u003cem>Dancing in Jaffa\u003c/em>) has crafted an entertaining, poignant portrait that’s superior to \u003cem>Electric Boogaloo: The Wild, Untold Story of Cannon Films\u003c/em>, which screened at the San Francisco International Film Festival in April.\u003c/p>\n\u003cfigure id=\"attachment_10853820\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Mr.-Kaplan.jpg\" alt=\"'Mr. Kaplan' (Photo: SFJFF)\" width=\"640\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mr.-Kaplan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mr.-Kaplan-400x168.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Mr. Kaplan’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/mr-kaplan/\" target=\"_blank\" rel=\"noopener\">Mr. Kaplan\u003c/a>\u003c/h3>\n\u003ch5>July 30, 8:35pm at CineArts; Aug. 2, 5:35pm at the Castro Theatre; Aug. 7, 6:20pm at the Smith Rafael Film Center\u003c/h5>\n\u003cp>One of my favorite movie genres is post-Holocaust fiction, as distance allows filmmakers and audiences to engage with irreverent and morally complicated perspectives. Uruguayan writer-director Álvaro Brechner’s sun-drenched yarn has a great premise, but is a little too soft-centered. Its elderly Jewish protagonist has lived a successful, decent life since fleeing Poland in the ’30s at his parents’ behest, but has never done anything to “justify” his lucky fate. When Mr. Kaplan gets it in his head that the old guy with the fish joint at the beach is an unprosecuted war criminal, he devises an Eichmann-style kidnapping. Poignant and touching in spots, the movie would have benefited from the pacing of a farce.\u003c/p>\n\u003cfigure id=\"attachment_10853821\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/My-Shortest-Love-Affair.jpg\" alt=\"'My Shortest Love Affair' (Photo: SFJFF)\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/My-Shortest-Love-Affair.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/My-Shortest-Love-Affair-400x226.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘My Shortest Love Affair’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/my-shortest-love-affair/\" target=\"_blank\" rel=\"noopener\">My Shortest Love Affair\u003c/a>\u003c/h3>\n\u003ch5>July 29, 6:30pm at the Castro Theatre; July 30, 6:15pm at CineArts; Aug. 3, 6:15pm at the California; Aug. 8, 8:30pm at the Smith Rafael Film Center\u003c/h5>\n\u003cp>The thirty/forty-something romantic comedy-drama is another burgeoning subgenre, with decidedly mixed results. The contrived and unrealistic premise of French writer-director Karin Albou’s talky, claustrophobic saga is that Louisa (played by Albou) is pregnant by long-ago boyfriend and recent one-night stand Charles (Patrick Mimoun), a New York-based novelist who returns to Paris to live with her. Their endlessly frustrated (and occasionally amusing, if you’re in the proper mood) conversations map the extent of their incompatibility, although neither quite wants to cut the cord. Even at 78 minutes, \u003cem>My Shortest Love Affair\u003c/em> lasts too long.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HrlWU99w5rk\u003c/p>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/blue-vinyl/\" target=\"_blank\" rel=\"noopener\">Blue Vinyl\u003c/a>\u003c/h3>\n\u003ch5>July 31, 2:30pm at the Castro Theatre\u003c/h5>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The SFJFF salutes Judith Helfand, one of the most gutsy and vulnerable practitioners of the first-person documentary, with a screening of her 2001 environmental exposé. The New York filmmaker also participates in \u003ca href=\"http://sfjff.org/2015/events/judith-helfand-in-conversation/\" target=\"_blank\" rel=\"noopener\">an onstage interview\u003c/a> augmented with clips from her current works in progress. It’s impossible to separate the personal from the political in Helfand’s best films, which is the highest compliment I can pay to the activist spirit that animates her character and drives her career. You don’t have to be Jewish to call out injustice, but if you are, and you do, the SFJFF will find a slot for your film.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/san-francisco-jewish-film-festival-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Jewish Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Annual film fest with diverse films for a diverse community.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Aug. 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-jewish-film-festival-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The old advertising tagline and pop culture catchphrase “You don’t have to be Jewish to like…” has special relevance for the 35th edition of the San Francisco Jewish Film Festival.\u003c/p>\n\u003cp>A surprising number of the films have no discernible Jewish content (East Bay filmmaker Rick Goldsmith’s \u003cem>Mind/Game: The Unquiet Life of Chamique Holdsclaw\u003c/em>, Abigail Disney’s \u003cem>The Armor of Light\u003c/em>) or a single fleeting reference to the central character’s ancestry (Kevin Kerslake’s \u003cem>As I Am: The Life and Times of DJ AM\u003c/em>, French writer-director Karin Albou’s \u003cem>My Shortest Love Affair\u003c/em>). It’s another piece of evidence that the traditional identity of identity-oriented film festivals in the Bay Area is shifting before our eyes.\u003c/p>\n\u003cp>This is plainly strategic on the part of the SFJFF, which runs July 23 through Aug. 2 at the Castro with additional dates in Palo Alto, Berkeley, Oakland and San Rafael. The aim, presumably, is to reach a broader (and younger) audience and provoke conversations beyond the Jewish community’s usual left-right standoffs. (You never know, you might even overhear a fresh perspective on the newly struck deal with Iran in the lobby.)\u003c/p>\n\u003cp>The big picture is a less pressing concern to you, I expect, than the perennial questions: What’s good? What should I see? I’m glad you asked.\u003c/p>\n\u003cfigure id=\"attachment_10853816\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Censored-Voices.jpg\" alt=\"'Censored Voices' (Photo: SFJFF)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Censored-Voices.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Censored-Voices-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Censored Voices’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/censored-voices/\" target=\"_blank\" rel=\"noopener\">Censored Voices\u003c/a>\u003c/h3>\n\u003ch5>Aug. 1, 2:50pm and Aug. 2, 1:30 pm at the Castro Theatre\u003c/h5>\n\u003cp>History continually presents us with inconvenient and uncomfortable truths that are best acknowledged, even belatedly. Israeli director Mor Loushy unearths shockingly candid audio interviews conducted by writer Amos Oz with young kibbutzniks immediately after their safe return from the Six Day War. Half a century on, they demolish the cherished myth of the heroic underdog with no goals beyond fighting for survival and describe the first stage of the Palestinian occupation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o5Loacb9_zI'\n title='//www.youtube.com/embed/o5Loacb9_zI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/finsterworld/\" target=\"_blank\" rel=\"noopener\">Finsterworld\u003c/a>\u003c/h3>\n\u003ch5>Aug. 1, 9:10pm at the Castro Theatre; Aug. 8, 4:25pm at the Lakeside Theater\u003c/h5>\n\u003cp>Frauke Finsterwalder’s wonderfully absurdist and ultimately disturbing fable peers into the German soul and finds a bottomless pool of affluent self-hatred. Inhabiting an accessible middle ground between the deadpan alienation of Swedish filmmaker Roy Andersson and the deadpan cruelty of Austrian Ulrich Seidl (who’s name-checked, along with Antonioni, by a hilariously calculating documentary filmmaker), \u003cem>Finsterworld\u003c/em> interweaves a pedicurist bonding with an elderly client, a cop with a secret taste for Furries and a high school bus trip to a concentration camp that goes stunningly wrong.\u003c/p>\n\u003cfigure id=\"attachment_10853819\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/In-Silence.jpg\" alt=\"'In Silence' (Photo: SFJFF)\" width=\"640\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/In-Silence.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/In-Silence-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘In Silence’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/in-silence/\" target=\"_blank\" rel=\"noopener\">In Silence\u003c/a>\u003c/h3>\n\u003ch5>July 24, 12:00pm at the Castro Theatre; July 27, 2:40pm at CineArts; Aug. 9, 12:30pm at the Lakeside Theater\u003c/h5>\n\u003cp>The Czech Republic and Slovakia send this gorgeous, audacious depiction of the Nazi war on Jews and culture in the East. Tracing the journeys of a handful of popular real-life composers, dancers and musicians, director Zdeněk Jiráský recreates the champagne-and-diamonds 1930s before thrusting us into the harsh blacks and grays of the concentration camps. Jiráský takes a huge risk by evoking the unimaginable horror of reality, but he succeeds in making us feel a different quality of pain and despair than, say, Roman Polanski’s great portrait of the destruction of civilization, \u003cem>The Pianist\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10853822\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853822\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Rosenwald.jpg\" alt=\"'Rosenwald' (Photo: SFJFF)\" width=\"640\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Rosenwald.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Rosenwald-400x259.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Rosenwald’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/rosenwald/\" target=\"_blank\" rel=\"noopener\">Rosenwald\u003c/a>\u003c/h3>\n\u003ch5>July 31, 6:30pm at the Castro Theatre\u003c/h5>\n\u003cp>The son of a traveling 19th-century immigrant peddler, Julius Rosenwald was the managerial maven who turned Sears Roebuck into a behemoth. This captain of Chicago industry was also an extraordinary philanthropist whose signal accomplishments, according to Aviva Kempner’s prosaic yet highly informative documentary, were partnering with Booker T. Washington to build more than 5,000 African-American schools in the South and providing grants to up-and-coming black artists. Slated for a Bay Area theatrical release in September, \u003cem>Rosenwald\u003c/em> rediscovers a black-Jewish connection with many happy consequences that preceded the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10853818\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Go-Go-Boys.jpg\" alt=\"'The Go-Go Boys: The Inside Story of Cannon Films' (Photo: SFJFF)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Go-Go-Boys.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Go-Go-Boys-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The Go-Go Boys: The Inside Story of Cannon Films’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/go-go-boys-the-the-inside-story-of-cannon-films/\" target=\"_blank\" rel=\"noopener\">The Go-Go Boys: The Inside Story of Cannon Films\u003c/a>\u003c/h3>\n\u003ch5>July 25, 6:50pm at the Castro Theatre; July 27, 6:30pm at CineArts; Aug. 2, 6:30pm at the California; Aug. 9, 4:20pm at the Smith Rafael Film Center\u003c/h5>\n\u003cp>Menahem Golan and Yoram Globus, Israeli cousins who relocated to Los Angeles, ruled the 1980s with a nonstop flurry of action-oriented exploitation movies. They loved the primal pleasures of making and watching movies, but coveted the respect of their peers embodied in the Oscar statuette. The prolific Hilla Medalia (\u003cem>Web Junkie\u003c/em>, \u003cem>Dancing in Jaffa\u003c/em>) has crafted an entertaining, poignant portrait that’s superior to \u003cem>Electric Boogaloo: The Wild, Untold Story of Cannon Films\u003c/em>, which screened at the San Francisco International Film Festival in April.\u003c/p>\n\u003cfigure id=\"attachment_10853820\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Mr.-Kaplan.jpg\" alt=\"'Mr. Kaplan' (Photo: SFJFF)\" width=\"640\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mr.-Kaplan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mr.-Kaplan-400x168.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Mr. Kaplan’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/mr-kaplan/\" target=\"_blank\" rel=\"noopener\">Mr. Kaplan\u003c/a>\u003c/h3>\n\u003ch5>July 30, 8:35pm at CineArts; Aug. 2, 5:35pm at the Castro Theatre; Aug. 7, 6:20pm at the Smith Rafael Film Center\u003c/h5>\n\u003cp>One of my favorite movie genres is post-Holocaust fiction, as distance allows filmmakers and audiences to engage with irreverent and morally complicated perspectives. Uruguayan writer-director Álvaro Brechner’s sun-drenched yarn has a great premise, but is a little too soft-centered. Its elderly Jewish protagonist has lived a successful, decent life since fleeing Poland in the ’30s at his parents’ behest, but has never done anything to “justify” his lucky fate. When Mr. Kaplan gets it in his head that the old guy with the fish joint at the beach is an unprosecuted war criminal, he devises an Eichmann-style kidnapping. Poignant and touching in spots, the movie would have benefited from the pacing of a farce.\u003c/p>\n\u003cfigure id=\"attachment_10853821\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10853821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/My-Shortest-Love-Affair.jpg\" alt=\"'My Shortest Love Affair' (Photo: SFJFF)\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/My-Shortest-Love-Affair.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/My-Shortest-Love-Affair-400x226.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘My Shortest Love Affair’ (Photo: SFJFF)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/my-shortest-love-affair/\" target=\"_blank\" rel=\"noopener\">My Shortest Love Affair\u003c/a>\u003c/h3>\n\u003ch5>July 29, 6:30pm at the Castro Theatre; July 30, 6:15pm at CineArts; Aug. 3, 6:15pm at the California; Aug. 8, 8:30pm at the Smith Rafael Film Center\u003c/h5>\n\u003cp>The thirty/forty-something romantic comedy-drama is another burgeoning subgenre, with decidedly mixed results. The contrived and unrealistic premise of French writer-director Karin Albou’s talky, claustrophobic saga is that Louisa (played by Albou) is pregnant by long-ago boyfriend and recent one-night stand Charles (Patrick Mimoun), a New York-based novelist who returns to Paris to live with her. Their endlessly frustrated (and occasionally amusing, if you’re in the proper mood) conversations map the extent of their incompatibility, although neither quite wants to cut the cord. Even at 78 minutes, \u003cem>My Shortest Love Affair\u003c/em> lasts too long.\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/HrlWU99w5rk'\n title='//www.youtube.com/embed/HrlWU99w5rk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"http://sfjff.org/2015/films/blue-vinyl/\" target=\"_blank\" rel=\"noopener\">Blue Vinyl\u003c/a>\u003c/h3>\n\u003ch5>July 31, 2:30pm at the Castro Theatre\u003c/h5>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The SFJFF salutes Judith Helfand, one of the most gutsy and vulnerable practitioners of the first-person documentary, with a screening of her 2001 environmental exposé. The New York filmmaker also participates in \u003ca href=\"http://sfjff.org/2015/events/judith-helfand-in-conversation/\" target=\"_blank\" rel=\"noopener\">an onstage interview\u003c/a> augmented with clips from her current works in progress. It’s impossible to separate the personal from the political in Helfand’s best films, which is the highest compliment I can pay to the activist spirit that animates her character and drives her career. You don’t have to be Jewish to call out injustice, but if you are, and you do, the SFJFF will find a slot for your film.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't We Leave Amy Winehouse Alone?",
"headTitle": "Why Can’t We Leave Amy Winehouse Alone? | 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>Event Information\u003c/h3>\n\u003ch2>‘Amy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary of the singer’s rise and fall in wide release.\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.amy-movie.com/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>‘Amy Winehouse: A Family Portrait’\u003c/h2>\n\u003cdiv class=\"event-desc\">The singer’s personal effects on display.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Nov. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Contemporary Jewish Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amy Winehouse is having a moment, and it’s an awkward one. The singer, who died in 2011, is both the subject of a documentary, \u003cem>Amy\u003c/em>, in wide release now, and a museum exhibit, \u003cem>Amy Winehouse: A Family Portrait\u003c/em>, which after its initial London run is opening at the Contemporary Jewish Museum this week.\u003c/p>\n\u003cp>Before her death of alcohol poisoning at age 27, Winehouse was many things: a brilliant songwriter, a transformative singer, a fashion icon. But from the moment her breakthrough single “Rehab” was released, Winehouse was also incessant tabloid fodder, a paparazzi paycheck, and — as her issues with drug use became more publicized — a \u003ca href=\"https://www.youtube.com/watch?v=goT0auqNe4w\" target=\"_blank\" rel=\"noopener\">television late-show punchline\u003c/a>. Her decline coincided with an unprecedented rise in social media, and until the end of her life, Amy Winehouse saw her innermost demons on display for all the world to gawk at, from every newspaper box and smartphone screen.\u003c/p>\n\u003cp>I remember very clearly the day Amy Winehouse died, in part because I jotted down a hodgepodge of thoughts throughout the day. \u003ca href=\"http://citysound.bohemian.com/2011/07/24/amy-winehouse-july-23-the-timeline/\" target=\"_blank\" rel=\"noopener\">You can read them here\u003c/a>, but the first is the relevant one:\u003c/p>\n\u003cblockquote>\u003cp>All I can think is that the media killed Amy Winehouse… That concert in Belgrade — even I clicked on the link, and after about ten seconds of the video I couldn’t watch anymore. \u003cem>But I clicked on the link\u003c/em>. Another click means another vote that tells the media AMY WINEHOUSE DISASTER = SITE TRAFFIC VICTORY, and I cast it, and you cast it, and we all cast it… This, I know: When the media places your life in a certain frame, over and over, you cannot grow out of that frame. Here is the narrative since 2008: “Amy Winehouse: Hopeless Addict.” Over and over. How could she be anything but? Jesus, we all killed Amy Winehouse.\u003c/p>\u003c/blockquote>\n\u003cp>This month’s headlines echo the same sentiment: “\u003ca href=\"http://pitchfork.com/thepitch/801-we-all-destroyed-amy-winehouse/\" target=\"_blank\" rel=\"noopener\">We All Destroyed Amy Winehouse\u003c/a>,” “\u003ca href=\"http://inthesetimes.com/article/18179/amy_winehouse_documentary_mental_illness_media\" target=\"_blank\" rel=\"noopener\">How Amy Winehouse’s Pain Was Commodified\u003c/a>,” “\u003ca href=\"http://www.thestranger.com/film/feature/2015/07/08/22508337/who-killed-amy-winehouse\" target=\"_blank\" rel=\"noopener\">Powerful New Documentary Amy Holds Us All Accountable\u003c/a>,” “\u003ca href=\"http://www.salon.com/2015/07/02/did_the_internet_kill_amy_winehouse_the_director_of_a_heartbreaking_new_documentary_on_the_rise_and_fall_of_a_%E2%80%9Cdigital_girl%E2%80%9D/\" target=\"_blank\" rel=\"noopener\">Did the Internet kill Amy Winehouse?\u003c/a>”\u003c/p>\n\u003cp>And so now we, as fans, are put in a predicament with the documentary and this museum exhibit. Both attempt earnestly to present Amy Winehouse the human being, but the effort is achieved by mining things she surely hoped to keep private, from her personal voicemails and handwritten journal entries to her Adam Sandler CDs. How are we all not posthumously complicit in the very thing that killed her? Or can we pretend to be free of guilt now, since she’s not here to be ruined by it?\u003c/p>\n\u003cfigure id=\"attachment_10854331\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg\" alt=\"A young Amy Winehouse plays the guitar in the film 'Amy.' (Photo: A24 Films)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10854331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy Winehouse plays the guitar in the film ‘Amy.’ (Photo: A24 Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Of the two\u003c/strong>, the film \u003cem>Amy\u003c/em> is the more revealing. Told entirely in archival footage — no present-day talking heads appear onscreen, only voices — the film pulls us along from the start, opening with camcorder footage of Winehouse at age 14: singing “Happy Birthday” at a friend’s party, eating lollipops, making cross-eyed faces. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, we see yellow lined paper covered in Winehouse’s bubbly teenage-girl handwriting, little heart doodles and all. And as her rise to fame is documented, the same handwriting shows up again, this time superimposed over paparazzi photos of Winehouse in the park, her whale-tail sticking out of postage-stamp–sized shorts, with new boyfriend Blake Fielder.\u003c/p>\n\u003cp>Fielder comes off as opportunistic scum in the film, as does Winehouse’s father, who barges into a post-overdose retreat on St. Lucia meant to clear Winehouse’s head with his reality-show camera crew and a condemning attitude toward his daughter. But the real villains in the \u003cem>Amy\u003c/em>’s second half are the photographers and their constant, violent hailstorm of camera shutters. Winehouse can go nowhere without the machine-gun firing of flashes in her face, and it’s no surprise that she chooses to stay inside — where, ironically, she takes pictures of herself, her face increasingly sunken-in and marred by the effects of heavy crack cocaine and alcohol use.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqmwcEtU2Js\u003c/p>\n\u003cp>What \u003cem>Amy\u003c/em> does best is remind us that Winehouse’s music was her own. While revisionists will try to pin the success of her breakthrough album \u003cem>Back to Black\u003c/em> on producer Mark Ronson, there are many scenes in \u003cem>Amy\u003c/em> of Winehouse playing guitar, and constructing inventive melodies over complex jazz chords. Because of the beehive-hairdo lead singer she turned into, few ever knew that Winehouse wrote the entirety of the songs on \u003cem>Back to Black\u003c/em>, and the film is a welcome reminder.\u003c/p>\n\u003cp>It’s a reminder that can be had with each listen to her singing — her otherworldly phrasing, her sly lyrics, and, in \u003cem>Amy\u003c/em>, her heartbreak as she repeats the last word of the album’s title track, alone in a studio’s isolation booth: “black… black… black…”\u003c/p>\n\u003cfigure id=\"attachment_10854333\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg\" alt=\"Entrance image to 'Amy Winehouse: A Family Portrait,' on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\" width=\"640\" height=\"646\" class=\"size-full wp-image-10854333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Entrance image to ‘Amy Winehouse: A Family Portrait,’ on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winehouse’s own music\u003c/strong> doesn’t play over the speakers at \u003cem>Amy Winehouse: A Family Portrait\u003c/em>. Instead, visitors hear songs inspired by a playlist titled “Songs on My Chill-Out Tape,” photocopied and framed in bubbly-Winehouse-cursive. It’s a strange feeling to walk into an exhibit dedicated to Amy Winehouse and hear the Offspring’s angsty 1994 hit “\u003ca href=\"https://www.youtube.com/watch?v=Abrn8aVQ76Q\" target=\"_blank\" rel=\"noopener\">Self Esteem\u003c/a>,” just as it’s strange that the exhibit’s first stateside appearance is in San Francisco, a city where Winehouse \u003ca href=\"https://www.youtube.com/watch?v=DMkllifDPK4\" target=\"_blank\" rel=\"noopener\">only performed once\u003c/a>. \u003c/p>\n\u003cp>There’s a separate conversation to be had about museums opening their doors to musical celebrity, be it Björk’s \u003ca href=\"http://www.vulture.com/2015/03/momas-bjork-disaster.html\" target=\"_blank\" rel=\"noopener\">widely lambasted exhibition at New York’s MoMA\u003c/a>, or PJ Harvey’s intriguing \u003ca href=\"http://pitchfork.com/news/58102-pj-harvey-begins-recording-new-album-in-public/\" target=\"_blank\" rel=\"noopener\">\u003cem>Recording in Progress\u003c/em> at Somerset House\u003c/a> in London. But there’s an extra delicacy to the Contemporary Jewish Museum’s exhibition in the fact that Amy Winehouse died just four short years ago. (As if to underscore this discomfort, the exhibit’s opening date, July 23, is the exact anniversary of her death.)\u003c/p>\n\u003cp>In \u003cem>Amy\u003c/em>, the only hint of Winehouse’s Jewish heritage comes during her funeral, where scattered attendees wear yarmulkes. Winehouse was descended from Jewish immigrants from Eastern Europe, but didn’t attend synagogue, which makes this exhibit of personal effects assembled by her siblings Alex and Riva more a use of Jewish ancestry than Jewish faith; thus, we get framed chicken soup recipes, photos from her great-grandparents’ barbershop, and a family tree that traces back to Belarus, Russia and Poland. \u003c/p>\n\u003cfigure id=\"attachment_10854411\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10854411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>This same wall contains Amy’s handwritten application to Sylvia Young Theatre School, in which she declares, “I have this dream to be very famous. To work on stage. It’s a life-long ambition.” Notably, this is in contrast to statements she would make about fame that were included in \u003cem>Amy\u003c/em> (“I don’t think I could handle it,” Winehouse says, pre-\u003cem>Back to Black\u003c/em>. “I’m sure I’d go mad”), but a 1994 class photo hints that Winehouse was ready for anything the world might throw her way. She’s easy to spot, dead center, hunched forward before her schoolmates with a determined look in her young eyes.\u003c/p>\n\u003cp>One wall is dedicated to Winehouse’s music, and obsessives will find themselves craning their necks to read the spines of select LPs and CDs from her collection. (Along with expected titles from Aretha Franklin, Dinah Washington and Mary J. Blige — artists who had a clear influence on her phrasing — there’s a sizable amount of hip-hop: Dead Prez, Ghostface Killah, Talib Kweli, Kid Koala, Common, Jungle Brothers and others.) The music wall also contains Winehouse’s black Regal resonator guitar, which, according to brother Alex, “is probably the worst musical instrument ever made,” yet its presence here is another reminder of Winehouse’s songwriting ability.\u003c/p>\n\u003cp>Two more walls showcase Winehouse’s wardrobe, a mix of thrift-store \u003cem>Swingers\u003c/em> chic and high fashion. Shoes are the thing here, with Fendi, Yves Saint-Laurent, Ferragamo and Louboutin pairs on display, but the most striking item is a Luella Bartley dress worn at Glastonbury in 2008 with an impossibly tiny waist. It instantly recalls Winehouse’s ongoing struggles with bulimia — a disease her mother essentially pooh-poohs in \u003cem>Amy\u003c/em> — and the viewer is compelled to get a sideways view to see just how thin Winehouse forced her own body to become.\u003c/p>\n\u003cp>And there it is, creeping back up again, the icky feeling that we’re mining Winehouse’s personal demons and private life but pretending to ourselves that it’s homage. Two examples from the exhibit come to mind, and one is a vintage white-and-gold 1950s cocktail bar that Winehouse owned. Winehouse drank heavily, ultimately destroying herself with alcohol, but the family’s description painstakingly asserts that “She never actually used the bar for its actual purpose; it was more of a good place to put letters and bills, rather than drinks.”\u003c/p>\n\u003cfigure id=\"attachment_10854412\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg\" alt=\"Installation view from 'Amy Winehouse: A Family Portrait,' Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\" width=\"1100\" height=\"702\" class=\"size-full wp-image-10854412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-960x613.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Amy Winehouse: A Family Portrait,’ Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\u003c/figcaption>\u003c/figure>\n\u003cp>The other is bound to be the running joke of the show: an assortment of refrigerator magnets, “collected by Amy,” the majority of which are the type displayed at a novelty store next to the X-ray goggles and rubber dog poop. You’ve seen these before: the 1950s housewife captioned with “I don’t suffer from insanity — I enjoy every minute of it” or “Ran into my ex… put it in reverse and hit him again.” The only magnets remotely personal to Winehouse are a few from Miami, where she and Fielder were married, or Austin, where she performed at South by Southwest. The others are so laughably banal, as if someone ransacked her apartment after she died and grabbed whatever was left, that one wonders why we’re not also ogling drawers of her twist-ties and bins of her discarded Q-tips.\u003c/p>\n\u003cp>A companion exhibit, \u003cem>You Know I’m No Good\u003c/em>, with work by Jennie Ottinger, Rachel Harrison, and Jason Jagel, adds an artistic reaction to Winehouse’s legacy, and raises valid questions about black appropriation and the predatory act of capturing one’s image. Parents brought here by their teenage children may find more of interest in it than in staring at a rack of Winehouse’s suspenders and belts. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Does any of this voyeurism deepen our appreciation of Winehouse’s artistry? Not especially. \u003cem>You Know I’m No Good\u003c/em> takes its title from one of Winehouse’s most self-examining songs, but as we already know, Any Winehouse \u003cem>was\u003c/em> good. So good, in fact, that even four years after her death, we evidently still can’t leave her alone.\u003c/p>\n\n",
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"excerpt": "Amy Winehouse's private life is at the heart of a new documentary and museum exhibit, and viewers can't help but feel posthumously complicit in the very thing that helped cause her decline.",
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"description": "Amy Winehouse's private life is at the heart of a new documentary and museum exhibit, and viewers can't help but feel posthumously complicit in the very thing that helped cause her decline.",
"title": "Why Can't We Leave Amy Winehouse Alone? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Event Information\u003c/h3>\n\u003ch2>‘Amy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary of the singer’s rise and fall in wide release.\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.amy-movie.com/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>‘Amy Winehouse: A Family Portrait’\u003c/h2>\n\u003cdiv class=\"event-desc\">The singer’s personal effects on display.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Nov. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Contemporary Jewish Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amy Winehouse is having a moment, and it’s an awkward one. The singer, who died in 2011, is both the subject of a documentary, \u003cem>Amy\u003c/em>, in wide release now, and a museum exhibit, \u003cem>Amy Winehouse: A Family Portrait\u003c/em>, which after its initial London run is opening at the Contemporary Jewish Museum this week.\u003c/p>\n\u003cp>Before her death of alcohol poisoning at age 27, Winehouse was many things: a brilliant songwriter, a transformative singer, a fashion icon. But from the moment her breakthrough single “Rehab” was released, Winehouse was also incessant tabloid fodder, a paparazzi paycheck, and — as her issues with drug use became more publicized — a \u003ca href=\"https://www.youtube.com/watch?v=goT0auqNe4w\" target=\"_blank\" rel=\"noopener\">television late-show punchline\u003c/a>. Her decline coincided with an unprecedented rise in social media, and until the end of her life, Amy Winehouse saw her innermost demons on display for all the world to gawk at, from every newspaper box and smartphone screen.\u003c/p>\n\u003cp>I remember very clearly the day Amy Winehouse died, in part because I jotted down a hodgepodge of thoughts throughout the day. \u003ca href=\"http://citysound.bohemian.com/2011/07/24/amy-winehouse-july-23-the-timeline/\" target=\"_blank\" rel=\"noopener\">You can read them here\u003c/a>, but the first is the relevant one:\u003c/p>\n\u003cblockquote>\u003cp>All I can think is that the media killed Amy Winehouse… That concert in Belgrade — even I clicked on the link, and after about ten seconds of the video I couldn’t watch anymore. \u003cem>But I clicked on the link\u003c/em>. Another click means another vote that tells the media AMY WINEHOUSE DISASTER = SITE TRAFFIC VICTORY, and I cast it, and you cast it, and we all cast it… This, I know: When the media places your life in a certain frame, over and over, you cannot grow out of that frame. Here is the narrative since 2008: “Amy Winehouse: Hopeless Addict.” Over and over. How could she be anything but? Jesus, we all killed Amy Winehouse.\u003c/p>\u003c/blockquote>\n\u003cp>This month’s headlines echo the same sentiment: “\u003ca href=\"http://pitchfork.com/thepitch/801-we-all-destroyed-amy-winehouse/\" target=\"_blank\" rel=\"noopener\">We All Destroyed Amy Winehouse\u003c/a>,” “\u003ca href=\"http://inthesetimes.com/article/18179/amy_winehouse_documentary_mental_illness_media\" target=\"_blank\" rel=\"noopener\">How Amy Winehouse’s Pain Was Commodified\u003c/a>,” “\u003ca href=\"http://www.thestranger.com/film/feature/2015/07/08/22508337/who-killed-amy-winehouse\" target=\"_blank\" rel=\"noopener\">Powerful New Documentary Amy Holds Us All Accountable\u003c/a>,” “\u003ca href=\"http://www.salon.com/2015/07/02/did_the_internet_kill_amy_winehouse_the_director_of_a_heartbreaking_new_documentary_on_the_rise_and_fall_of_a_%E2%80%9Cdigital_girl%E2%80%9D/\" target=\"_blank\" rel=\"noopener\">Did the Internet kill Amy Winehouse?\u003c/a>”\u003c/p>\n\u003cp>And so now we, as fans, are put in a predicament with the documentary and this museum exhibit. Both attempt earnestly to present Amy Winehouse the human being, but the effort is achieved by mining things she surely hoped to keep private, from her personal voicemails and handwritten journal entries to her Adam Sandler CDs. How are we all not posthumously complicit in the very thing that killed her? Or can we pretend to be free of guilt now, since she’s not here to be ruined by it?\u003c/p>\n\u003cfigure id=\"attachment_10854331\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg\" alt=\"A young Amy Winehouse plays the guitar in the film 'Amy.' (Photo: A24 Films)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10854331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy Winehouse plays the guitar in the film ‘Amy.’ (Photo: A24 Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Of the two\u003c/strong>, the film \u003cem>Amy\u003c/em> is the more revealing. Told entirely in archival footage — no present-day talking heads appear onscreen, only voices — the film pulls us along from the start, opening with camcorder footage of Winehouse at age 14: singing “Happy Birthday” at a friend’s party, eating lollipops, making cross-eyed faces. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, we see yellow lined paper covered in Winehouse’s bubbly teenage-girl handwriting, little heart doodles and all. And as her rise to fame is documented, the same handwriting shows up again, this time superimposed over paparazzi photos of Winehouse in the park, her whale-tail sticking out of postage-stamp–sized shorts, with new boyfriend Blake Fielder.\u003c/p>\n\u003cp>Fielder comes off as opportunistic scum in the film, as does Winehouse’s father, who barges into a post-overdose retreat on St. Lucia meant to clear Winehouse’s head with his reality-show camera crew and a condemning attitude toward his daughter. But the real villains in the \u003cem>Amy\u003c/em>’s second half are the photographers and their constant, violent hailstorm of camera shutters. Winehouse can go nowhere without the machine-gun firing of flashes in her face, and it’s no surprise that she chooses to stay inside — where, ironically, she takes pictures of herself, her face increasingly sunken-in and marred by the effects of heavy crack cocaine and alcohol use.\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/wqmwcEtU2Js'\n title='//www.youtube.com/embed/wqmwcEtU2Js'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What \u003cem>Amy\u003c/em> does best is remind us that Winehouse’s music was her own. While revisionists will try to pin the success of her breakthrough album \u003cem>Back to Black\u003c/em> on producer Mark Ronson, there are many scenes in \u003cem>Amy\u003c/em> of Winehouse playing guitar, and constructing inventive melodies over complex jazz chords. Because of the beehive-hairdo lead singer she turned into, few ever knew that Winehouse wrote the entirety of the songs on \u003cem>Back to Black\u003c/em>, and the film is a welcome reminder.\u003c/p>\n\u003cp>It’s a reminder that can be had with each listen to her singing — her otherworldly phrasing, her sly lyrics, and, in \u003cem>Amy\u003c/em>, her heartbreak as she repeats the last word of the album’s title track, alone in a studio’s isolation booth: “black… black… black…”\u003c/p>\n\u003cfigure id=\"attachment_10854333\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg\" alt=\"Entrance image to 'Amy Winehouse: A Family Portrait,' on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\" width=\"640\" height=\"646\" class=\"size-full wp-image-10854333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Entrance image to ‘Amy Winehouse: A Family Portrait,’ on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winehouse’s own music\u003c/strong> doesn’t play over the speakers at \u003cem>Amy Winehouse: A Family Portrait\u003c/em>. Instead, visitors hear songs inspired by a playlist titled “Songs on My Chill-Out Tape,” photocopied and framed in bubbly-Winehouse-cursive. It’s a strange feeling to walk into an exhibit dedicated to Amy Winehouse and hear the Offspring’s angsty 1994 hit “\u003ca href=\"https://www.youtube.com/watch?v=Abrn8aVQ76Q\" target=\"_blank\" rel=\"noopener\">Self Esteem\u003c/a>,” just as it’s strange that the exhibit’s first stateside appearance is in San Francisco, a city where Winehouse \u003ca href=\"https://www.youtube.com/watch?v=DMkllifDPK4\" target=\"_blank\" rel=\"noopener\">only performed once\u003c/a>. \u003c/p>\n\u003cp>There’s a separate conversation to be had about museums opening their doors to musical celebrity, be it Björk’s \u003ca href=\"http://www.vulture.com/2015/03/momas-bjork-disaster.html\" target=\"_blank\" rel=\"noopener\">widely lambasted exhibition at New York’s MoMA\u003c/a>, or PJ Harvey’s intriguing \u003ca href=\"http://pitchfork.com/news/58102-pj-harvey-begins-recording-new-album-in-public/\" target=\"_blank\" rel=\"noopener\">\u003cem>Recording in Progress\u003c/em> at Somerset House\u003c/a> in London. But there’s an extra delicacy to the Contemporary Jewish Museum’s exhibition in the fact that Amy Winehouse died just four short years ago. (As if to underscore this discomfort, the exhibit’s opening date, July 23, is the exact anniversary of her death.)\u003c/p>\n\u003cp>In \u003cem>Amy\u003c/em>, the only hint of Winehouse’s Jewish heritage comes during her funeral, where scattered attendees wear yarmulkes. Winehouse was descended from Jewish immigrants from Eastern Europe, but didn’t attend synagogue, which makes this exhibit of personal effects assembled by her siblings Alex and Riva more a use of Jewish ancestry than Jewish faith; thus, we get framed chicken soup recipes, photos from her great-grandparents’ barbershop, and a family tree that traces back to Belarus, Russia and Poland. \u003c/p>\n\u003cfigure id=\"attachment_10854411\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10854411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>This same wall contains Amy’s handwritten application to Sylvia Young Theatre School, in which she declares, “I have this dream to be very famous. To work on stage. It’s a life-long ambition.” Notably, this is in contrast to statements she would make about fame that were included in \u003cem>Amy\u003c/em> (“I don’t think I could handle it,” Winehouse says, pre-\u003cem>Back to Black\u003c/em>. “I’m sure I’d go mad”), but a 1994 class photo hints that Winehouse was ready for anything the world might throw her way. She’s easy to spot, dead center, hunched forward before her schoolmates with a determined look in her young eyes.\u003c/p>\n\u003cp>One wall is dedicated to Winehouse’s music, and obsessives will find themselves craning their necks to read the spines of select LPs and CDs from her collection. (Along with expected titles from Aretha Franklin, Dinah Washington and Mary J. Blige — artists who had a clear influence on her phrasing — there’s a sizable amount of hip-hop: Dead Prez, Ghostface Killah, Talib Kweli, Kid Koala, Common, Jungle Brothers and others.) The music wall also contains Winehouse’s black Regal resonator guitar, which, according to brother Alex, “is probably the worst musical instrument ever made,” yet its presence here is another reminder of Winehouse’s songwriting ability.\u003c/p>\n\u003cp>Two more walls showcase Winehouse’s wardrobe, a mix of thrift-store \u003cem>Swingers\u003c/em> chic and high fashion. Shoes are the thing here, with Fendi, Yves Saint-Laurent, Ferragamo and Louboutin pairs on display, but the most striking item is a Luella Bartley dress worn at Glastonbury in 2008 with an impossibly tiny waist. It instantly recalls Winehouse’s ongoing struggles with bulimia — a disease her mother essentially pooh-poohs in \u003cem>Amy\u003c/em> — and the viewer is compelled to get a sideways view to see just how thin Winehouse forced her own body to become.\u003c/p>\n\u003cp>And there it is, creeping back up again, the icky feeling that we’re mining Winehouse’s personal demons and private life but pretending to ourselves that it’s homage. Two examples from the exhibit come to mind, and one is a vintage white-and-gold 1950s cocktail bar that Winehouse owned. Winehouse drank heavily, ultimately destroying herself with alcohol, but the family’s description painstakingly asserts that “She never actually used the bar for its actual purpose; it was more of a good place to put letters and bills, rather than drinks.”\u003c/p>\n\u003cfigure id=\"attachment_10854412\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg\" alt=\"Installation view from 'Amy Winehouse: A Family Portrait,' Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\" width=\"1100\" height=\"702\" class=\"size-full wp-image-10854412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-960x613.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Amy Winehouse: A Family Portrait,’ Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\u003c/figcaption>\u003c/figure>\n\u003cp>The other is bound to be the running joke of the show: an assortment of refrigerator magnets, “collected by Amy,” the majority of which are the type displayed at a novelty store next to the X-ray goggles and rubber dog poop. You’ve seen these before: the 1950s housewife captioned with “I don’t suffer from insanity — I enjoy every minute of it” or “Ran into my ex… put it in reverse and hit him again.” The only magnets remotely personal to Winehouse are a few from Miami, where she and Fielder were married, or Austin, where she performed at South by Southwest. The others are so laughably banal, as if someone ransacked her apartment after she died and grabbed whatever was left, that one wonders why we’re not also ogling drawers of her twist-ties and bins of her discarded Q-tips.\u003c/p>\n\u003cp>A companion exhibit, \u003cem>You Know I’m No Good\u003c/em>, with work by Jennie Ottinger, Rachel Harrison, and Jason Jagel, adds an artistic reaction to Winehouse’s legacy, and raises valid questions about black appropriation and the predatory act of capturing one’s image. Parents brought here by their teenage children may find more of interest in it than in staring at a rack of Winehouse’s suspenders and belts. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>In the delightful comedy \u003cem>So You’ve Grown Attached\u003c/em>, an imaginary friend is forced to consider retirement when his creator – and best friend – starts to grow up.\u003cbr>\nA short film by Kate Tsang. Made at NYU.\u003c/p>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=VIZRJqLoOpY?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/2015/07/22/the-imaginary-friend-you-always-wanted/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/22/the-imaginary-friend-you-always-wanted/\" target=\"_blank\" title=\"The Imaginary Friend You Always Wanted\" 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>I hope you’re wearing your white collarless shirt from Fred Segal right now because it's the 20th anniversary of \u003cem>Clueless\u003c/em>! That’s right, you’re old, but so is everyone else so it’s going to be ok. Like \u003cem>Heathers\u003c/em> before it, \u003cem>Clueless\u003c/em> seized the vernacular of an entire generation. I'm totally buggin'. She's a full on Monet. Whatever! I'm Audi. You jeepin' behind my back? As if! And on and on. So it’s no surprise that the entire Internet is celebrating this high holiday. 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Ariel ranting about the tragic uselessness of searching for a boy in high school while looking on in disgust at Ursula's unfortunate souls is pure genius.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EJE9tr7GR3g\u003c/p>\n\u003cp>While we're in the vault, this parody featuring three of the Golden Girls acting out scenes from the movie (with an elderly twist) is magic. Best line: \"You see how picky I am about my teeth and they only go in my mouth.\"\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.ew.com/article/2015/07/17/clueless-costume-designer-mona-may-chers-yellow-suit\">Clueless costume designer on Cher's yellow suit: It was so important to choose the first look | EW.com\u003c/a>\u003c/div>\n\u003cp>Did you know that Cher's yellow plaid outfit was almost red? \u003cem>Entertainment Weekly\u003c/em> talked to the film's costume designer Mona May about how she came up with certain looks and why she thinks Cher and her clique's fashion choices are still relevant today.\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.bustle.com/articles/97542-ranking-clueless-men-from-full-on-monets-to-total-baldwins\">Ranking 'Clueless' Men From Full-On Monets To Total Baldwins\u003c/a>\u003c/div>\n\u003cp>\u003cem>Bustle\u003c/em> decided to rank the boys from the movie from full-on Monets to total Baldwins. 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"content": "\u003cp>Inevitably, several months after a beloved actor dies too young, we are expected to reckon with the ghost. That time has come for Robin Williams, the apple-cheeked performer with the giant heart, whose final onscreen appearance is arriving in theaters 11 months after his suicide (\u003cem>Absolutely Anything\u003c/em>, which features his last voicework, comes out later this year).\u003c/p>\n\u003cp>No matter that the new drama \u003cem>Boulevard \u003c/em>was shot before some of his other movies since released. The film’s timing ensures it joins a club also inhabited by \u003cem>A Most Wanted Man \u003c/em>(Philip Seymour Hoffman), \u003cem>Enough Said \u003c/em>(James Gandolfini), and \u003cem>Soul Men \u003c/em>(Bernie Mac), a club no movie wants to be in: where its defining trait is that its star, regardless of how full of life he may seem onscreen, no longer inhabits our mortal plane.\u003c/p>\n\u003cp>On its own merits, as a story about a middle-aged, married banker who realizes too late in life that he’s gay, \u003cem>Boulevard\u003c/em> is a little slight. As the final showcase for Williams, though, it’s heartbreaking. One of the actor’s least heralded skills was how he was able to so deftly balance two distinct acting personas: rubber-faced comedy and subtle, fragile drama. His work here as long-repressed Nolan Mack carries faint shades of his seminal, Oscar-winning turn in \u003cem>Good Will Hunting\u003c/em>. Once again we’re witnessing a delicate soul, a man so used to internalizing his problems that he seems ready to implode at any minute, gradually coming to grips with the reality of his situation. It’s an exquisite performance, and one with unmissable glimpses of some deep depression.\u003c/p>\n\u003cp>Sitting at the bedside of his dying father in the opening scene, Nolan then silently returns to his wife Joy (Kathy Baker), who seems anything but joyous. The couple sleep in separate beds at home, and Nolan works all the time, despite Joy’s efforts to drag him on a vacation cruise. Turns out he’s more comfortable with a different kind of cruise: the kind that brings him down an unnamed boulevard and within arm’s reach of the young prostitute Leo (Robert Aguire). Watch Williams’ nervous fumbling the first time Nolan brings Leo to a motel room, his quickness to offer coffee (“it’s complimentary with the room”), his eagerness to talk about his childhood. Nothing explicit is ever shown, yet we feel his emotional nakedness. The actor communicates more in that scene than many performers will articulate in their entire careers.\u003c/p>\n\u003cp>Director Dito Montiel (\u003cem>A Guide To Recognizing Your Saints\u003c/em>) bathes his star in a tremendous amount of shadow, so that Williams is perpetually receding into the darkness. Odd, then, that while Montiel seems to know exactly what to do with Williams, he’s adrift with almost every other component of his film. \u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk feels wasted in a sidekick role, while a villainous pimp seems to have emerged from a different movie entirely. The familiar trope of movie characters hiring prostitutes for something other than sex continues, and leads into the familiar morale that it’s never too late to do what you want.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seeds of something more compelling can be found in the relationship between Nolan and Leo, which morphs into something that calls to mind the stereotype of what would unkindly be called a sugar daddy. Nolan, so parched for companionship, gives Leo his phone number; when he doesn’t call, Nolan’s solution is to buy him a phone and preprogram his number into it. If only the object of Nolan’s affections could hold our attention as well: the young man’s most fascinating trait is his standoffishness, which in turn just leaves us pitying the guy so desperately trying to win him over. After so many years, why bother with someone who doesn’t love you back?\u003c/p>\n\u003cp>But all the film’s problems are secondary to Williams himself. Those who viewed his sillier comedies — the ones where he’s doing a million impressions a minute — and wished he would “dial it back” will be satisfied with the melancholy of his role in \u003cem>Boulevard\u003c/em>, though there’s nothing at all dialed back about this performance. Williams is full-bore inside this character, his insecurities, his lifelong regrets, his inklings of desire and hope. There is great power in melancholy, something the actor learned early in his career once he began to tackle dramatic roles with the same immersive gusto that had made him the \u003cem>Mork & Mindy\u003c/em> superstar. In his final gift to us, the one that just about closes the book on his career, he makes clear just what a giant he was.\u003c/p>\n\u003cp>Is.\u003c/p>\n\u003cp>Was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inevitably, several months after a beloved actor dies too young, we are expected to reckon with the ghost. That time has come for Robin Williams, the apple-cheeked performer with the giant heart, whose final onscreen appearance is arriving in theaters 11 months after his suicide (\u003cem>Absolutely Anything\u003c/em>, which features his last voicework, comes out later this year).\u003c/p>\n\u003cp>No matter that the new drama \u003cem>Boulevard \u003c/em>was shot before some of his other movies since released. The film’s timing ensures it joins a club also inhabited by \u003cem>A Most Wanted Man \u003c/em>(Philip Seymour Hoffman), \u003cem>Enough Said \u003c/em>(James Gandolfini), and \u003cem>Soul Men \u003c/em>(Bernie Mac), a club no movie wants to be in: where its defining trait is that its star, regardless of how full of life he may seem onscreen, no longer inhabits our mortal plane.\u003c/p>\n\u003cp>On its own merits, as a story about a middle-aged, married banker who realizes too late in life that he’s gay, \u003cem>Boulevard\u003c/em> is a little slight. As the final showcase for Williams, though, it’s heartbreaking. One of the actor’s least heralded skills was how he was able to so deftly balance two distinct acting personas: rubber-faced comedy and subtle, fragile drama. His work here as long-repressed Nolan Mack carries faint shades of his seminal, Oscar-winning turn in \u003cem>Good Will Hunting\u003c/em>. Once again we’re witnessing a delicate soul, a man so used to internalizing his problems that he seems ready to implode at any minute, gradually coming to grips with the reality of his situation. It’s an exquisite performance, and one with unmissable glimpses of some deep depression.\u003c/p>\n\u003cp>Sitting at the bedside of his dying father in the opening scene, Nolan then silently returns to his wife Joy (Kathy Baker), who seems anything but joyous. The couple sleep in separate beds at home, and Nolan works all the time, despite Joy’s efforts to drag him on a vacation cruise. Turns out he’s more comfortable with a different kind of cruise: the kind that brings him down an unnamed boulevard and within arm’s reach of the young prostitute Leo (Robert Aguire). Watch Williams’ nervous fumbling the first time Nolan brings Leo to a motel room, his quickness to offer coffee (“it’s complimentary with the room”), his eagerness to talk about his childhood. Nothing explicit is ever shown, yet we feel his emotional nakedness. The actor communicates more in that scene than many performers will articulate in their entire careers.\u003c/p>\n\u003cp>Director Dito Montiel (\u003cem>A Guide To Recognizing Your Saints\u003c/em>) bathes his star in a tremendous amount of shadow, so that Williams is perpetually receding into the darkness. Odd, then, that while Montiel seems to know exactly what to do with Williams, he’s adrift with almost every other component of his film. \u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk feels wasted in a sidekick role, while a villainous pimp seems to have emerged from a different movie entirely. The familiar trope of movie characters hiring prostitutes for something other than sex continues, and leads into the familiar morale that it’s never too late to do what you want.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seeds of something more compelling can be found in the relationship between Nolan and Leo, which morphs into something that calls to mind the stereotype of what would unkindly be called a sugar daddy. Nolan, so parched for companionship, gives Leo his phone number; when he doesn’t call, Nolan’s solution is to buy him a phone and preprogram his number into it. If only the object of Nolan’s affections could hold our attention as well: the young man’s most fascinating trait is his standoffishness, which in turn just leaves us pitying the guy so desperately trying to win him over. After so many years, why bother with someone who doesn’t love you back?\u003c/p>\n\u003cp>But all the film’s problems are secondary to Williams himself. Those who viewed his sillier comedies — the ones where he’s doing a million impressions a minute — and wished he would “dial it back” will be satisfied with the melancholy of his role in \u003cem>Boulevard\u003c/em>, though there’s nothing at all dialed back about this performance. Williams is full-bore inside this character, his insecurities, his lifelong regrets, his inklings of desire and hope. There is great power in melancholy, something the actor learned early in his career once he began to tackle dramatic roles with the same immersive gusto that had made him the \u003cem>Mork & Mindy\u003c/em> superstar. In his final gift to us, the one that just about closes the book on his career, he makes clear just what a giant he was.\u003c/p>\n\u003cp>Is.\u003c/p>\n\u003cp>Was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shot on iPhone: ‘Tangerine’ Raises Profile of Transgender Actors",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.magpictures.com/tangerine/\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>\u003c/em>, the color of a winter sunset in West Hollywood, is also the name of Sean Baker’s new film — shot entirely on an iPhone. The story circles around two transgender sex workers, Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), and a long day’s journey into night that begins and ends in a Los Angeles Donut Time.\u003c/p>\n\u003cp>Just two years ago, Jared Leto won an Oscar for his role as a transgender woman in \u003cem>Dallas Buyers Club\u003c/em>. In this context, \u003cem>Tangerine\u003c/em> could be a bellwether: casting transgender actors in transgender roles. KQED Arts spoke with Baker about his low-fi techniques, first-time actors and making it in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10838485\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10838485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Mya640.jpg\" alt=\"Still from 'Tangerine.' (Photo: Magnolia Pictures)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mya640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mya640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tangerine.’ (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You met Mya Taylor at an LGBTQ Center in LA.\u003c/strong>\u003c/p>\n\u003cp>There are two centers. They are extremely important around that area, because they service youth at risk… It’s a trauma-free zone, and that’s where I came across Mya and a few of her friends one day. Mya moved from Houston to LA not only to begin her transition, but also to pursue this dream of hers to be an entertainer.\u003c/p>\n\u003cp>It’s extremely tough for these women to land employment… After the film, I was doing everything I could do to help Mya… In that time, I witnessed Mya get turned down by close to fifty jobs. She was more than qualified, but they had every excuse in the book not to hire her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My point is that the Center is a place where they can go for free services, for help in looking for employment.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tangerine\u003c/em> is a road movie, an odyssey on foot. The main characters are roommates but we never see where they live.\u003c/strong>\u003c/p>\n\u003cp>For all of the films that I make, we have an extensive research process. I got to see a few of the apartments that the girls live in. Usually they are living in a dorm-like environment where there were lots of women and friends living under the same roof. It’s a communal thing, where whoever has the money at the moment is helping the others get by… I thought it would be good to at least hint at the fact that they might live together, and it might be month-to-month.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aA6r2jbzEMI\u003c/p>\n\u003cp>\u003cstrong>It quickly becomes clear that their private lives are on display in public spaces and on the streets.\u003c/strong>\u003c/p>\n\u003cp>Most of their lives are lived in public, and that was something that we definitely noticed. There’s lots of homelessness amongst this community as well. I’m not talking about the trans community. I’m talking about the group of sex workers who work that area. They wear their lives on their sleeves. People can see it.\u003c/p>\n\u003cp>Plus, we also wanted to show that there are these locales along Santa Monica Boulevard that become temporary homes and shelters. One being Donut Time.\u003c/p>\n\u003cfigure id=\"attachment_10838490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10838490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SeanBaker6403.jpg\" alt=\"Director Sean Baker. (Photo: Magnolia Pictures)\" width=\"640\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-606x600.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Sean Baker. (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does Los Angeles mean to you as a filmmaker?\u003c/strong>\u003c/p>\n\u003cp>I’m from New York… so I do have this outsider’s point of view of the city… I think it’s an unexplored city. I had no idea how much culture was there, so I’m drawn to it, and I like living there now.\u003c/p>\n\u003cp>I’ve never thought about this, but maybe being that I’ve been a struggling indie filmmaker for most of my life, I see LA from that \u003cem>\u003ca href=\"http://www.theguardian.com/culture/2002/jan/17/artsfeatures.davidlynch\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> viewpoint where I’m always looking for the industry to let me in… I only know a handful of the happily-ever-after Hollywood stories, Mark and Jay Duplass being one of them [the film’s producers]. I have other actor friends who have made it. The majority, most of the people I hang out with, socialize with, observe, etc., are people who are still knocking on the door.\u003c/p>\n\u003cp>\u003cstrong>How did you make the decision to shoot with an iPhone?\u003c/strong>\u003c/p>\n\u003cp>We had such an incredibly low budget. I’m on my fifth feature, so I’m out of favors at this point in my career. Some independent filmmakers would say, “Oh, you could borrow a camera,” but we weren’t in that situation, plus it would add crew members.\u003c/p>\n\u003cp>It started off as a budgetary thing, then it quickly became a stylistic thing, and we embraced it. I do feel that it led to an even greater degree of intimacy than the smallest of the professional cameras. Then I realized, very soon into just shooting some tests on the street, that it was also this tool that kept us clandestine.\u003c/p>\n\u003cp>Everybody that I’m working with has their own smartphone. They’re used to shooting video and selfies of themselves… There is not a moment of intimidation. You don’t have to get over that hump with the first-time actors.\u003c/p>\n\u003cp>\u003cstrong>A recent \u003cem>New York Times\u003c/em> series, \u003ca href=\"http://www.nytimes.com/2015/05/04/opinion/the-quest-for-transgender-equality.html?_r=0\" target=\"_blank\" rel=\"noopener\">“Transgender Today”\u003c/a> notes, “As prominent transgender people have come out in recent years, their revelations have been a source of fascination, much of it prurient.” Do you feel there’s an element of prurience in a film about prostitution and drug use?\u003c/strong>\u003c/p>\n\u003cp>That is definitely true. But if we remove the trans element from the film, I’m personally still interested in the subject of sex work. I covered it in my last film, \u003cem>Starlet\u003c/em>. I approached it in my first film through dialogue, and through a teenager’s fascination with porn.\u003c/p>\n\u003cp>\u003cem>Tangerine\u003c/em> was developed before the subject of trans people in our society came into the zeitgeist… For me, I was exploring a particular section of LA, a red-light district that happened to be frequented by trans prostitutes.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tangerine\u003c/em> opens July 17 at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco\">Landmark Embarcadero\u003c/a> in San Francisco and at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco-east-bay/california-theatre\" target=\"_blank\" rel=\"noopener\">California Theatre\u003c/a> in Berkeley.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.magpictures.com/tangerine/\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>\u003c/em>, the color of a winter sunset in West Hollywood, is also the name of Sean Baker’s new film — shot entirely on an iPhone. The story circles around two transgender sex workers, Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), and a long day’s journey into night that begins and ends in a Los Angeles Donut Time.\u003c/p>\n\u003cp>Just two years ago, Jared Leto won an Oscar for his role as a transgender woman in \u003cem>Dallas Buyers Club\u003c/em>. In this context, \u003cem>Tangerine\u003c/em> could be a bellwether: casting transgender actors in transgender roles. KQED Arts spoke with Baker about his low-fi techniques, first-time actors and making it in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10838485\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10838485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Mya640.jpg\" alt=\"Still from 'Tangerine.' (Photo: Magnolia Pictures)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mya640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Mya640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tangerine.’ (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You met Mya Taylor at an LGBTQ Center in LA.\u003c/strong>\u003c/p>\n\u003cp>There are two centers. They are extremely important around that area, because they service youth at risk… It’s a trauma-free zone, and that’s where I came across Mya and a few of her friends one day. Mya moved from Houston to LA not only to begin her transition, but also to pursue this dream of hers to be an entertainer.\u003c/p>\n\u003cp>It’s extremely tough for these women to land employment… After the film, I was doing everything I could do to help Mya… In that time, I witnessed Mya get turned down by close to fifty jobs. She was more than qualified, but they had every excuse in the book not to hire her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My point is that the Center is a place where they can go for free services, for help in looking for employment.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tangerine\u003c/em> is a road movie, an odyssey on foot. The main characters are roommates but we never see where they live.\u003c/strong>\u003c/p>\n\u003cp>For all of the films that I make, we have an extensive research process. I got to see a few of the apartments that the girls live in. Usually they are living in a dorm-like environment where there were lots of women and friends living under the same roof. It’s a communal thing, where whoever has the money at the moment is helping the others get by… I thought it would be good to at least hint at the fact that they might live together, and it might be month-to-month.\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/aA6r2jbzEMI'\n title='//www.youtube.com/embed/aA6r2jbzEMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>It quickly becomes clear that their private lives are on display in public spaces and on the streets.\u003c/strong>\u003c/p>\n\u003cp>Most of their lives are lived in public, and that was something that we definitely noticed. There’s lots of homelessness amongst this community as well. I’m not talking about the trans community. I’m talking about the group of sex workers who work that area. They wear their lives on their sleeves. People can see it.\u003c/p>\n\u003cp>Plus, we also wanted to show that there are these locales along Santa Monica Boulevard that become temporary homes and shelters. One being Donut Time.\u003c/p>\n\u003cfigure id=\"attachment_10838490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10838490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SeanBaker6403.jpg\" alt=\"Director Sean Baker. (Photo: Magnolia Pictures)\" width=\"640\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-606x600.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SeanBaker6403-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Sean Baker. (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does Los Angeles mean to you as a filmmaker?\u003c/strong>\u003c/p>\n\u003cp>I’m from New York… so I do have this outsider’s point of view of the city… I think it’s an unexplored city. I had no idea how much culture was there, so I’m drawn to it, and I like living there now.\u003c/p>\n\u003cp>I’ve never thought about this, but maybe being that I’ve been a struggling indie filmmaker for most of my life, I see LA from that \u003cem>\u003ca href=\"http://www.theguardian.com/culture/2002/jan/17/artsfeatures.davidlynch\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> viewpoint where I’m always looking for the industry to let me in… I only know a handful of the happily-ever-after Hollywood stories, Mark and Jay Duplass being one of them [the film’s producers]. I have other actor friends who have made it. The majority, most of the people I hang out with, socialize with, observe, etc., are people who are still knocking on the door.\u003c/p>\n\u003cp>\u003cstrong>How did you make the decision to shoot with an iPhone?\u003c/strong>\u003c/p>\n\u003cp>We had such an incredibly low budget. I’m on my fifth feature, so I’m out of favors at this point in my career. Some independent filmmakers would say, “Oh, you could borrow a camera,” but we weren’t in that situation, plus it would add crew members.\u003c/p>\n\u003cp>It started off as a budgetary thing, then it quickly became a stylistic thing, and we embraced it. I do feel that it led to an even greater degree of intimacy than the smallest of the professional cameras. Then I realized, very soon into just shooting some tests on the street, that it was also this tool that kept us clandestine.\u003c/p>\n\u003cp>Everybody that I’m working with has their own smartphone. They’re used to shooting video and selfies of themselves… There is not a moment of intimidation. You don’t have to get over that hump with the first-time actors.\u003c/p>\n\u003cp>\u003cstrong>A recent \u003cem>New York Times\u003c/em> series, \u003ca href=\"http://www.nytimes.com/2015/05/04/opinion/the-quest-for-transgender-equality.html?_r=0\" target=\"_blank\" rel=\"noopener\">“Transgender Today”\u003c/a> notes, “As prominent transgender people have come out in recent years, their revelations have been a source of fascination, much of it prurient.” Do you feel there’s an element of prurience in a film about prostitution and drug use?\u003c/strong>\u003c/p>\n\u003cp>That is definitely true. But if we remove the trans element from the film, I’m personally still interested in the subject of sex work. I covered it in my last film, \u003cem>Starlet\u003c/em>. I approached it in my first film through dialogue, and through a teenager’s fascination with porn.\u003c/p>\n\u003cp>\u003cem>Tangerine\u003c/em> was developed before the subject of trans people in our society came into the zeitgeist… For me, I was exploring a particular section of LA, a red-light district that happened to be frequented by trans prostitutes.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tangerine\u003c/em> opens July 17 at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco\">Landmark Embarcadero\u003c/a> in San Francisco and at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco-east-bay/california-theatre\" target=\"_blank\" rel=\"noopener\">California Theatre\u003c/a> in Berkeley.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\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://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the wake of a bad breakup, journalist and gay activist David Thorpe did what many of us do: He took intense inventory of his own flaws and insecurities, then stepped up one of them into a Thing. A good Thing, as it turns out, whose end result is the charming documentary \u003cem>Do I Sound Gay?\u003c/em>, in which Thorpe wryly treats his anxieties about his “gay” voice as an exercise in self-improvement, and winds up with a compelling portrait of internalized homophobia and liberation.\u003c/p>\n\u003cp>Thorpe admits that going in, he was “repelled” by a speech style that makes gay men sound like “braying ninnies.” His efforts to “normalize” his own nasal up-speak with exercises prescribed by a cheery speech pathologist and a Hollywood voice coach are mildly amusing, but they feel a bit like comic filler working too hard. When he broadens his inquiry into widespread assumptions about effeminacy, the story gets a whole lot livelier, more fun, and more illuminating.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R21Fd8-Apf0\u003c/p>\n\u003cp>Back in South Carolina’s Bible Belt, where Thorpe grew up, relatives and childhood friends point out that he didn’t sound gay until he came out of the closet in college. Friends within his tight-knit gay circle are more divided: Some confess to hating their lisping, adenoidal voices; others own gayspeak with varying degrees of defiance and jubilation. Thorpe brings in linguists to testify that there’s little evidence to support the argument that gay speech is innate.\u003c/p>\n\u003cp>The explanation that pleases him most is that gay speech has its origins less in biology or neuro-chemistry than in early female influence: Men who grow up mostly around women tend to mimic feminine speech styles — which, Thorpe argues, would explain why some straight men sound gay, and why gays who grow up with brothers often develop basso profundos. That’s a persuasive, if mostly anecdotal thesis as far as it goes. Unless you believe that women lisp more than men do, though, it doesn’t cover the lisping that so many of Thorpe’s friends seem to hate in the way they talk. Yet some also honed their voices — and their ambivalence — from television and classic movie stars who sounded cosmopolitan and sophisticated, or who, like Liberace, turned their effeminacy to their own advantage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Do I Sound Gay?\u003c/em> is very good on the way many gay men who were bullied as children have learned to turn the hatred of others inward, which helps explain cases of gay hyper-masculinity and internal ostracism of effeminate men. The movie’s ending is upbeat, with good reason. Taking his cue from the swelling ranks of gay celebrities (among them George Takei, Margaret Cho and the ineffably funny and candid David Sedaris) who are willing to speak on camera about liberating themselves from their own fears, Thorpe realizes he’s been asking the wrong questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While he was busy trying to iron out his gay voice, New York State legalized gay marriage, and the film’s release comes just weeks after the Supreme Court legalized gay marriage across the nation. The last word surely belongs to a clip reel of wonderfully high-spirited teenage boys who, far from feeling cowed by the abuse they took as kids, stiffened their spines and took full ownership of their own expressive styles.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of a bad breakup, journalist and gay activist David Thorpe did what many of us do: He took intense inventory of his own flaws and insecurities, then stepped up one of them into a Thing. A good Thing, as it turns out, whose end result is the charming documentary \u003cem>Do I Sound Gay?\u003c/em>, in which Thorpe wryly treats his anxieties about his “gay” voice as an exercise in self-improvement, and winds up with a compelling portrait of internalized homophobia and liberation.\u003c/p>\n\u003cp>Thorpe admits that going in, he was “repelled” by a speech style that makes gay men sound like “braying ninnies.” His efforts to “normalize” his own nasal up-speak with exercises prescribed by a cheery speech pathologist and a Hollywood voice coach are mildly amusing, but they feel a bit like comic filler working too hard. When he broadens his inquiry into widespread assumptions about effeminacy, the story gets a whole lot livelier, more fun, and more illuminating.\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/R21Fd8-Apf0'\n title='//www.youtube.com/embed/R21Fd8-Apf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back in South Carolina’s Bible Belt, where Thorpe grew up, relatives and childhood friends point out that he didn’t sound gay until he came out of the closet in college. Friends within his tight-knit gay circle are more divided: Some confess to hating their lisping, adenoidal voices; others own gayspeak with varying degrees of defiance and jubilation. Thorpe brings in linguists to testify that there’s little evidence to support the argument that gay speech is innate.\u003c/p>\n\u003cp>The explanation that pleases him most is that gay speech has its origins less in biology or neuro-chemistry than in early female influence: Men who grow up mostly around women tend to mimic feminine speech styles — which, Thorpe argues, would explain why some straight men sound gay, and why gays who grow up with brothers often develop basso profundos. That’s a persuasive, if mostly anecdotal thesis as far as it goes. Unless you believe that women lisp more than men do, though, it doesn’t cover the lisping that so many of Thorpe’s friends seem to hate in the way they talk. Yet some also honed their voices — and their ambivalence — from television and classic movie stars who sounded cosmopolitan and sophisticated, or who, like Liberace, turned their effeminacy to their own advantage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do I Sound Gay?\u003c/em> is very good on the way many gay men who were bullied as children have learned to turn the hatred of others inward, which helps explain cases of gay hyper-masculinity and internal ostracism of effeminate men. The movie’s ending is upbeat, with good reason. Taking his cue from the swelling ranks of gay celebrities (among them George Takei, Margaret Cho and the ineffably funny and candid David Sedaris) who are willing to speak on camera about liberating themselves from their own fears, Thorpe realizes he’s been asking the wrong questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While he was busy trying to iron out his gay voice, New York State legalized gay marriage, and the film’s release comes just weeks after the Supreme Court legalized gay marriage across the nation. The last word surely belongs to a clip reel of wonderfully high-spirited teenage boys who, far from feeling cowed by the abuse they took as kids, stiffened their spines and took full ownership of their own expressive styles.\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\u003ch3>\u003cspan>Everyone could use a little help.\u003c/span>\u003c/h3>\n\u003cp>\u003cspan>Are you crowdsourcing to fund your student film? We want to know about it!\u003c/span>\u003c/p>\n\u003cdiv>\n\u003cp>#filmSOS\u003c/p>\n\u003c/div>\n\u003cp>\u003cspan>Every month, \u003cstrong>Film School Shorts\u003c/strong> produces the \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/?s=filmsos\" rel=\"noopener\">#filmSOS Recap\u003c/a> blog. It’s a one stop shop to find the best and most \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/08/filmsos-crowdfunding-campaigns-recap-march/?utm_source=rss&utm_medium=rss&utm_campaign=filmsos-crowdfunding-campaigns-recap-march\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/08/filmsos-crowdfunding-campaigns-recap-march/?utm_source=rss&utm_medium=rss&utm_campaign=filmsos-crowdfunding-campaigns-recap-march\" target=\"_blank\" title=\"#filmSOS Crowdfunding Campaigns Recap – March\" 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\u003ch3>\u003cspan>Everyone could use a little help.\u003c/span>\u003c/h3>\n\u003cp>\u003cspan>Are you crowdsourcing to fund your student film? We want to know about it!\u003c/span>\u003c/p>\n\u003cdiv>\u003cp>#filmSOS\u003c/p>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan>Every month, \u003cstrong>Film School Shorts\u003c/strong> produces the \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/?s=filmsos\" rel=\"noopener\">#filmSOS Recap\u003c/a> blog. It's a one stop shop to find the best and most \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/08/filmsos-crowdfunding-campaigns-recap-march/?utm_source=rss&utm_medium=rss&utm_campaign=filmsos-crowdfunding-campaigns-recap-march\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>The\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\"> Arab Film Festival\u003c/a> (AFF), one of the largest independent showcases of Arab movies outside of the Arab world, is being kicked out of its San Francisco office months before it hosts its next festival, scheduled for Oct. 16-25 of this year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.pradogroup.com/\" target=\"_blank\" rel=\"noopener\">The Prado Group\u003c/a>, a privately held real estate development and investment management company based in San Francisco, purchased the building that houses the AFF’s office nine months ago. The company has given the AFF until the end of August to move out.\u003c/p>\n\u003cp>The Prado Group didn’t notify the AFF about how much its rent was going to increase, according to AFF executive director Serge Bakalian.\u003c/p>\n\u003cp>“When they called for a meeting, I was expecting them to say ‘It’s going to be two times your current rent,'” Bakalian said. “But they didn’t even give us an option. They just said, ‘Here’s 60 days.’ I asked for a couple months and to their credit, they did give us an extra month.”\u003c/p>\n\u003cp>The Prado Group has yet to reply to KQED’s request for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The AFF was started in San Jose in 1996 with a mission to “enhance understanding of Arab culture and foster a space for independent Arab filmmakers to screen their work for the public.” Since then, the AFF has expanded globally with satellite festivals in Berlin, London, San Diego and Los Angeles.\u003c/p>\n\u003cp>The AFF has operated in San Francisco since 2002 and has been located at its Mission District offices for the past six years.\u003c/p>\n\u003cp>Before receiving the eviction notice, the AFF had been planning to expand its staff from seven paid personnel to eight, and add two interns. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.tilt.com/tilts/keep-nonprofits-in-san-francisco/description\" target=\"_blank\" rel=\"noopener\">crowd-funding campaign\u003c/a> has been started to help keep the AFF in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as it develops.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\"> Arab Film Festival\u003c/a> (AFF), one of the largest independent showcases of Arab movies outside of the Arab world, is being kicked out of its San Francisco office months before it hosts its next festival, scheduled for Oct. 16-25 of this year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.pradogroup.com/\" target=\"_blank\" rel=\"noopener\">The Prado Group\u003c/a>, a privately held real estate development and investment management company based in San Francisco, purchased the building that houses the AFF’s office nine months ago. The company has given the AFF until the end of August to move out.\u003c/p>\n\u003cp>The Prado Group didn’t notify the AFF about how much its rent was going to increase, according to AFF executive director Serge Bakalian.\u003c/p>\n\u003cp>“When they called for a meeting, I was expecting them to say ‘It’s going to be two times your current rent,'” Bakalian said. “But they didn’t even give us an option. They just said, ‘Here’s 60 days.’ I asked for a couple months and to their credit, they did give us an extra month.”\u003c/p>\n\u003cp>The Prado Group has yet to reply to KQED’s request for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For Danny Elfman, the Strange Worlds of Tim Burton Just Make Sense",
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"content": "\u003cp>Tim Burton’s shadowy tales have taken audiences from a pastel suburban paradise in \u003cem>Edward Scissorhands\u003c/em> to the dark streets of Gotham City in \u003cem>Batman\u003c/em>.\u003c/p>\n\u003cp>Accompanying Burton’s strange worlds are the mysterious and unforgettable scores by composer Danny Elfman. Over the last 30 years, the two have forged an iconic partnership.\u003c/p>\n\u003cp>“There was instant chemistry in terms of what we were into,” Danny Elfman says about the first time he met Tim Burton. “We had a lot of common roots … we both grew up as horror movie kids.”\u003c/p>\n\u003cp>Burton’s latest film, \u003cem>Big Eyes\u003c/em>, marks the duo’s 16th collaboration together.\u003c/p>\n\u003cp>To celebrate, the Lincoln Center Festival in New York City opens Monday with \u003cem>\u003ca href=\"http://www.lincolncenterfestival.org/2015/danny-elfman-s-music-from-the-films-of-tim-burton\" target=\"_blank\" rel=\"noopener\">Danny Elfman’s Music from the Films of Tim Burton\u003c/a> \u003c/em>at Avery Fisher Hall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first act features music from \u003cem>Pee-Wee’s Big Adventure\u003c/em> — the first movie the two worked on together. While filming, Burton asked Elfman to score the film.\u003c/p>\n\u003cp>“I had a four-track tape player and I went and recorded a demo,” he says. “Sent them to him on a cassette. That was it.”\u003c/p>\n\u003cp>Burton called back a few weeks later and offered Elfman the job.\u003c/p>\n\u003cp>“In the beginning and over the years of working together, considering that it’s been 16 films, we’ve talked very little about them,” Elfman says. “Tim doesn’t like to analyze his films. Tim’s never been that way. And so we usually will see a film, he’ll tell me how he feels, a little bit about this character, that character, and we don’t really communicate until I have music to play.”\u003c/p>\n\u003cp>“I grew up feeling that I was from another planet,” Elfman says. “And I get the feeling that Tim also grew up similarly … The worlds he created didn’t seem that weird to me, it just seemed like, ‘Okay, yeah.’ ”\u003c/p>\n\u003cp>\u003cem>Hear the full piece at the audio link below.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/419643892/420097073\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Danny+Elfman%2C+The+Strange+Worlds+Of+Tim+Burton+Just+Make+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Burton’s shadowy tales have taken audiences from a pastel suburban paradise in \u003cem>Edward Scissorhands\u003c/em> to the dark streets of Gotham City in \u003cem>Batman\u003c/em>.\u003c/p>\n\u003cp>Accompanying Burton’s strange worlds are the mysterious and unforgettable scores by composer Danny Elfman. Over the last 30 years, the two have forged an iconic partnership.\u003c/p>\n\u003cp>“There was instant chemistry in terms of what we were into,” Danny Elfman says about the first time he met Tim Burton. “We had a lot of common roots … we both grew up as horror movie kids.”\u003c/p>\n\u003cp>Burton’s latest film, \u003cem>Big Eyes\u003c/em>, marks the duo’s 16th collaboration together.\u003c/p>\n\u003cp>To celebrate, the Lincoln Center Festival in New York City opens Monday with \u003cem>\u003ca href=\"http://www.lincolncenterfestival.org/2015/danny-elfman-s-music-from-the-films-of-tim-burton\" target=\"_blank\" rel=\"noopener\">Danny Elfman’s Music from the Films of Tim Burton\u003c/a> \u003c/em>at Avery Fisher Hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first act features music from \u003cem>Pee-Wee’s Big Adventure\u003c/em> — the first movie the two worked on together. While filming, Burton asked Elfman to score the film.\u003c/p>\n\u003cp>“I had a four-track tape player and I went and recorded a demo,” he says. “Sent them to him on a cassette. That was it.”\u003c/p>\n\u003cp>Burton called back a few weeks later and offered Elfman the job.\u003c/p>\n\u003cp>“In the beginning and over the years of working together, considering that it’s been 16 films, we’ve talked very little about them,” Elfman says. “Tim doesn’t like to analyze his films. Tim’s never been that way. And so we usually will see a film, he’ll tell me how he feels, a little bit about this character, that character, and we don’t really communicate until I have music to play.”\u003c/p>\n\u003cp>“I grew up feeling that I was from another planet,” Elfman says. “And I get the feeling that Tim also grew up similarly … The worlds he created didn’t seem that weird to me, it just seemed like, ‘Okay, yeah.’ ”\u003c/p>\n\u003cp>\u003cem>Hear the full piece at the audio link below.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/419643892/420097073\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Danny+Elfman%2C+The+Strange+Worlds+Of+Tim+Burton+Just+Make+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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