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"content": "\u003cp>A few months ago I encountered a dilemma I thought had been permanently solved in the age of everything/anywhere media: I really needed to see a particular movie, and I couldn’t find it for rent. I was slotted to write an \u003ca href=\"http://ww2.kqed.org/arts/2014/04/07/california-films-sweet-sweetbacks-baadasssss-song/\" target=\"_blank\" rel=\"noopener\">essay on \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>\u003c/a>, the seminal black independent film by Melvin Van Peebles, but it was unavailable on Netflix’s DVD service, my longtime resource for such fare.\u003c/p>\n\u003cp>This was weird, because I had rented it once before from Netflix, in 2009.\u003c/p>\n\u003cp>What had happened to it?\u003c/p>\n\u003cp>I tried Amazon streaming and iTunes, but no dice. I would have run down to my local video store, but I don’t \u003ci>have\u003c/i> a local video store. I struck out at the San Francisco Public Library as well, leaving me with two choices: I was either going to have to buy the DVD, eating into my fee, or try to download it illegally.\u003c/p>\n\u003cp>Luckily, I found a last-minute solution when my wife borrowed \u003ci>Sweetback\u003c/i> from a library in Marin. But the entire process took about a week, leaving me with less time to write about the film. (\u003cem>Update Sept 23\u003c/em>: The San Francisco Public Library does have the film now, apparently. Someone has also posted it on YouTube. I actually talked to Melvin Van Peebles today and asked him if he’d given permission to anyone to put the film on YouTube. “No,” he said, “but if I run into them in a dark alley they’ll be sorry.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The episode was disconcerting. I had started using Netflix around the millennium because it seemed like a great idea with no downside (the eventual disappearance of video stores notwithstanding). I was paying a fortune in late fees at my local disc-o-mat, and Netflix’s so-called “\u003ca href=\"http://archive.wired.com/wired/archive/12.10/tail.html\" target=\"_blank\" rel=\"noopener\">long tail\u003c/a>” strategy of amassing a vast array of niche content in addition to popular titles appealed to me, as did having the ability to get what looked to be every single movie ever released on DVD delivered straight to my door. And rarely did Netflix disappoint when there was something I wanted to watch, no matter how esoteric.\u003c/p>\n\u003cp>Which is why I have remained one of the doddering, AARP-eligible movie fans who have never moved to Netflix’s streaming service, despite the company’s \u003ca href=\"//news.investors.com/technology-click/072313-664804-nflx-letting-dvd-business-wither.htm%E2%80%9D\">best efforts to push me in that direction\u003c/a>. True, I sometimes feel like my grandmother, who often mistook cell phones for electric razors, but I have my reasons, the main one being the considerable \u003ca href=\"http://news.investors.com/technology-click/072313-664804-nflx-letting-dvd-business-wither.htm\" target=\"_blank\" rel=\"noopener\">dearth of content\u003c/a> on the streaming side. Here’s a for-instance, and as random benchmarks go it’s not bad: \u003ca href=\"http://blogs.indiewire.com/shadowandact/films-on-spike-lees-list-of-essentials-that-are-streaming-on-netflix\" target=\"_blank\" rel=\"noopener\">IndieWire reported last year\u003c/a> that only six of the movies on \u003ca href=\"http://www.slate.com/blogs/browbeat/2013/08/20/spike_lee_s_essential_films_list_revised_the_director_adds_more_women_filmmakers.html\" target=\"_blank\" rel=\"noopener\">Spike Lee’s list of 86 essential films\u003c/a> were available on Netflix streaming. (Lee later \u003ca href=\"http://www.slate.com/blogs/browbeat/2013/08/20/spike_lee_s_essential_films_list_revised_the_director_adds_more_women_filmmakers.html\" target=\"_blank\" rel=\"noopener\">revised the list\u003c/a>, and Netflix currently streams eight of those 94 films.)\u003c/p>\n\u003cp>The meager selection is so notorious that \u003cem>The Onion\u003c/em> targeted it this year. From the humor website in January:\u003c/p>\n\u003cblockquote>\u003cp>“In a swift and unexpected departure from their present business model, officials from Netflix revealed Wednesday that the company is currently considering adding a good movie to their online streaming service…..“We feel the addition of a popular, above-average, well-made film would provide a nice counterbalance to our existing library of poorly received sequels, totally unknown indie dramas from four or five years ago that you’ve never heard of, and horrendous direct-to-DVD horror features.”\u003c/p>\u003c/blockquote>\n\u003ch4>Now Go the DVDs…\u003c/h4>\n\u003cp>And now it seems, while still nowhere as haphazard as the streaming selection, the company’s once reliably complete DVD selection is becoming less so all the time. After my \u003cem>Sweet Sweetback\u003c/em> dilemma, I began to note that some DVDs that used to sit patiently awaiting their turn in my queue had dropped down to the “saved” section, where the time of their availability is listed as “unknown.” I think it is safe to say, you can translate that as “never.” Earlier this year, I mentioned this incredibly shrinking DVD phenomenon to John Taylor, the buyer at San Francisco’s Le Video, and he told me Netflix’s DVD collection was now absent a growing number of significant titles, including a passel of Woody Allen films.\u003c/p>\n\u003cp>Woody Allen? I checked, finding all unavailable as DVDs or Blu-rays: \u003ci>Bananas\u003c/i>, \u003ci>Mighty Aphrodite\u003c/i>, \u003ci>Everyone Says I Love You\u003c/i>, \u003ci>Deconstructing Harry\u003c/i>, \u003ci>Sweet and Lowdown\u003c/i>, \u003ci>Everything You Wanted to Know About Sex *But Were Afraid to Ask\u003c/i>, and \u003ci>September\u003c/i>. And just a few months later, additionally AWOL from Allen’s oeuvre: \u003ci>Love and Death,\u003c/i> \u003ci>Celebrity\u003c/i>, \u003ci>The Curse of the Jade Scorpion\u003c/i>, \u003ci>Small Time Crooks\u003c/i>, \u003ci>Bullets Over Broadway\u003c/i>, and \u003ci>Take the Money and Run. \u003c/i>(Via streaming, you can watch only \u003ci>Annie Hall\u003c/i>, \u003ci>Scoop\u003c/i>, and \u003ci>Manhattan\u003c/i>.)\u003c/p>\n\u003cp>While Netflix’s legacy DVD service still fares relatively well on the Spike Lee test, 11 films from his original list, or 13 percent, are listed as unavailable or “Very long wait.” Watching the mailbox for a “very long wait,” experience shows, is like waiting for The Great Pumpkin. Such staples of home consumption as \u003ci>La Strada\u003c/i>, \u003ci>Raising Arizona\u003c/i> and \u003ci>The Road Warrior\u003c/i> are included in the missing.\u003c/p>\n\u003ch4>Cinephiles in a Bind\u003c/h4>\n\u003cp>Mark Taylor is KQED’s senior interactive producer for arts and culture and teaches media theory and criticism at USF and the Art Institutes of California. He’s on Netflix’s five DVDs-at-at-a-time plan, which costs $27.99 a month ($33.99 including Blu-ray) and has long used Netflix to preview films he’s considering teaching in class. But he says he can no longer rely on the service for research the way he once did.\u003c/p>\n\u003cp>“My experience is that you end up with a bunch of things that have a very long wait and then they never come,” he said. “Things that were once available aren’t anymore.” Nine of the films at the top of his DVD queue are very long waits, he said, “sitting there forever.”\u003c/p>\n\u003cp>Netflix didn’t want to talk to me about their movie catalogue, leaving me to rely on the speculation of a couple of video store folks that the company’s DVD selection is shrinking most likely because it is not replacing damaged disks.\u003c/p>\n\u003cp>“Things go out of print and become much harder to find,” said David Hawkins, co-owner of Lost Weekend Video in San Francisco. He said that when something is no longer available through the usual outlets, breaks or is stolen, any store has to make a decision about whether to invest in purchasing a copy at prices that can be exorbitant because of its scarcity. (Which still wouldn’t explain why Netflix doesn’t have DVDs like \u003ci>Bullets Over Broadway\u003c/i>, \u003ci>Celebrity\u003c/i> or \u003ci>Sweet and Low Down\u003c/i>, readily available to purchase on Amazon.)\u003c/p>\n\u003cp>In any event, for those who still rely on Netflix’s DVD service, the conventional wisdom is it would be wise to prepare to be cast adrift entirely. Netflix says it now makes \u003ca href=\"http://files.shareholder.com/downloads/NFLX/3415305831x0x769748/9b21df7f-743c-4f0f-94da-9f13e384a3d2/July2014EarningsLetter_7.21.14_final.pdf\" target=\"_blank\" rel=\"noopener\">more than twice the profits from streaming than from DVDs\u003c/a>. Last quarter, its DVD business lost another 391,000 subscribers, leaving the total number of physical-media dead-enders, still excited by the sight of a fresh red envelope in the mailbox, at 6.3 million in the U.S. That’s compared to about 35 million streamers. Last year, Netflix started \u003ca href=\"http://mtstandard.com/news/local/netflix-closing-butte-center-due-to-shrinking-dvd-business/article_1eb192e8-20dc-11e3-aef2-001a4bcf887a.html\" target=\"_blank\" rel=\"noopener\">closing its distribution centers around the country\u003c/a> and recently it \u003ca href=\"http://www.latimes.com/business/la-fi-netflix-saturday-delivery-20140717-story.html\" target=\"_blank\" rel=\"noopener\">stopped shipping on Saturdays\u003c/a>. The \u003ca href=\"http://www.theguardian.com/media/2014/jul/22/netflix-dvds-mail-subscription\" target=\"_blank\" rel=\"noopener\">\u003ci>Guardian\u003c/i> reports\u003c/a> that Netflix has spent no money on marketing its DVD business this year. Summing it all up, \u003ca href=\"http://www.latimes.com/business/la-fi-netflix-saturday-delivery-20140717-story.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Businessweek\u003c/i> wrote\u003c/a> last October: “The writing is on the wall … At some point, there’s an end of the line for Netflix’s DVD business. We just don’t quite know yet when that point will come.”\u003c/p>\n\u003ch4>Where Have All The Good Films Gone?\u003c/h4>\n\u003cp>If and when the inevitable does happen, and Netflix sells off its vast supply of DVDs for drink coasters, what will cinephiles like Mark Taylor and I do? Wait for streaming to become as robust as the DVD service once was?\u003c/p>\n\u003cp>Unlikely. The death of Netflix DVDs could very well spell the end of the golden days of one-stop shopping. Check out this 2013 Netflix PR video communicating that the company should no longer be looked upon as a massive movie library. What it really is, it says, is the “Internet’s largest television network.”\u003c/p>\n\u003cblockquote>\u003cp>With every title we add, we remain focused on our goal of being an expert programmer (vocal emphasis in the video) offering a mix that delights our members rather than trying to be a broad distributor. We’re selective about what titles we add to Netflix …. we can’t license everything and also maintain our low prices. So we look for those titles that deliver the biggest viewership relative to the licensing costs. This also means that we’ll forego or choose not to renew some titles that aren’t watched enough relative to their costs.\u003c/p>\u003c/blockquote>\n\u003cp>http://youtu.be/VvpoUh9gx58\u003c/p>\n\u003cp>What Netflix is talking about here is not just the absence of exotic fare like \u003ci>Sweet Sweetback\u003c/i>, it affects a lot of newer films, too. And that is not going to change anytime soon, writes Farhad Manjoo in his \u003ci>New York Times\u003c/i> piece from March called “\u003ca href=\"http://www.nytimes.com/2014/03/27/technology/personaltech/why-movie-streaming-services-are-unsatisfying-and-will-stay-so.html?_r=0\" target=\"_blank\" rel=\"noopener\">Why Streaming Sites So Fail to Satisfy\u003c/a>.”\u003c/p>\n\u003cp>“(W)e aren’t anywhere close to getting a service that allows customers to pay a single monthly fee for access to a wide range of top-notch movies and TV shows,” he writes. “For those of us with even slightly selective preferences, we’ll have to pick between different rental and subscription services offering different catalogs of programs, none very extensive, at vastly different price points.”\u003c/p>\n\u003cp>The reason? Bloomberg’s Megan McArdle \u003ca href=\"http://www.bloombergview.com/articles/2014-01-14/netflix-is-caught-between-a-dvd-and-a-hard-place\" target=\"_blank\" rel=\"noopener\">put it this way\u003c/a> in January:\u003c/p>\n\u003cblockquote>\u003cp>Old-fashioned video rental stores, and Netflix’s DVD-by-mail service, are governed by something called “first-sale doctrine”: Once I sell you a physical copy of a movie or song, you can do whatever you like with the physical object, except copy it or show it publicly… But streaming is governed by a different set of rules for digital content. You can’t stream a movie to someone unless the rights holders have agreed to let you do so. … Essentially, Netflix cannot afford to buy the rights to all the movies you want to watch.\u003c/p>\u003c/blockquote>\n\u003cp>“The renting of videos was not a permissions-based business model,” says Ted Hope, a film producer and former head of the San Francisco Film Society who is now the CEO of \u003ca href=\"http://www.fandor.com/\" target=\"_blank\" rel=\"noopener\">Fandor\u003c/a>, a subscription streaming site that focuses on independent and art films. “Any store could buy and rent videos. So it was ideal for access; you could find anything, and every city had one of these great video stores that specialized in breadth of content. The irony is we now get to hear about everything better than we ever did, but accessing it is a real challenge, because the licensing model hasn’t evolved at the same pace of technology. Consumers are at this moment where there’s a gulf between what’s affordable for a platform and what licensers expect to get.”\u003c/p>\n\u003ch4>Back to the Video Store?\u003c/h4>\n\u003cp>Megan McArdle wrote in that same article that Netflix’s movie library “is no longer actually a good substitute for a good movie rental place.”\u003c/p>\n\u003cp>You can’t get most of the esoteric stuff online whereas a place like San Francisco’s Le Video, run by certified film nuts, is packed with obscure titles you’ve never even heard of. Ah, Le Video. Mark Taylor still makes the trek across the city from his Potrero Hill home when he can’t procure a film more easily. “Le Video has everything,” he says, exaggerating only slightly. The store, renting videos, DVDs, and Blu-rays since 1980, is home to some 80-90,000 titles, still available even in its \u003ca href=\"http://www.sfgate.com/business/article/Le-Video-survives-thanks-to-partnership-with-5402071.php\" target=\"_blank\" rel=\"noopener\">less roomy incarnation\u003c/a>.\u003c/p>\n\u003cp>So, considering the jejune grab bag of films available via streaming, and assuming streaming may one day be the only game in town, you wonder: Could there be an opportunity for video stores to become relevant again?\u003c/p>\n\u003cp>Michael Fox is a local film critic who used to regularly frequent Gramophone Video on Polk Street to review films for the \u003ca href=\"www.milibrary.org/events/cinemalit-film-series\" target=\"_blank\" rel=\"noopener\">CinemaLit film series\u003c/a> he runs at the Mechanics’ Institute in San Francisco. “If I wanted to check out \u003ci>The Life and Times of Judge Roy Bean\u003c/i>, for instance, I went to Gramophone,” he said.\u003c/p>\n\u003cp>So where does he find those films now that the store is closed?\u003c/p>\n\u003cp>“I’m just not seeing those movies,” he said. “I try and research, do more reading online to get a sense of the picture, or talk to people whose opinions I trust, which is not ideal.”\u003c/p>\n\u003cp>The few remaining \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">local video stores in San Francisco\u003c/a> are barely getting by. Still, they are not devoid of patrons. At Lost Weekend Video on Valencia Street recently, maybe 10 customers entered the store over the course of an hour. I asked one, Cass Cantine of San Francisco, why he still got his movies there. “Local video stores like this have exactly what I want to see when I want to see it,” he said.\u003c/p>\n\u003cp>What about Netflix?\u003c/p>\n\u003cp>“Netflix doesn’t carry what I want.”\u003c/p>\n\u003cp>A \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">recent analysis of the video rental industry\u003c/a> by business forecasting firm IBIS World held out some hope for brick-and-disc stores, provided they can adapt. While the report said the industry is in “the declining stage of its life cycle,” it conceded that “some niche, specialized stores will be able to maintain a profit.” For example, the report said, stores might offer a deep collection of genre or locally relevant films.\u003c/p>\n\u003cp>Gwen Sanderson, co-owner of Video Wave in Noe Valley, says for those who want to simply rent a film as opposed to purchasing, many titles are still only available through video stores. She mentions \u003ci>The Seven Percent Solution\u003c/i>, a Sherlock Holmes movie starring Alan Arkin as Sigmund Freud, unavailable on Netflix or iTunes and purchasable on Amazon for about $18 (and not carried by the San Francisco, Oakland, San Jose, or Berkeley public libraries — still resources for many).\u003c/p>\n\u003cp>“There are hundreds like this,” Sanderson said. “If we close, people will have to buy them to watch them. The reality is we’re going to leave a lot of options behind that are available to us in our current collection.”\u003c/p>\n\u003cp>I asked her if she thought video stores could retool themselves as repositories of harder-to-find titles. “I don’t know if we can address that in time to save our business,” she said. But renting rarer films for a higher fee might be one option, she suggested.\u003c/p>\n\u003ch4>Still, if you really want to see a particular film…\u003c/h4>\n\u003cp>… I have found you probably will be able to find it online — somehow, some way — though your ability to overcome technical obstacles, overlook inferior image quality, and tolerate dipping into the louche world of illegal downloading will dictate the quality of the experience. Technology reporter Alex Hearn of the UK’s \u003ci>Guardian\u003c/i> stuck up for physical media recently when he wrote, “When it comes to discs, a flaky broadband connection or buggy BT Homehub can’t derail the experience — something that can’t be said for streaming. There’s little worse than settling down for an evening movie and watching it buffer for five minutes, before playing 30 seconds then buffering again.”\u003c/p>\n\u003cp>Still, it’s a mark of just how much stuff is out there that I was able to find several films online that interviewees in this piece mentioned were unavailable. And with tools like Google’s Chromecast I could even stream them to my TV.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Looked terrible. But you get used to it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few months ago I encountered a dilemma I thought had been permanently solved in the age of everything/anywhere media: I really needed to see a particular movie, and I couldn’t find it for rent. I was slotted to write an \u003ca href=\"http://ww2.kqed.org/arts/2014/04/07/california-films-sweet-sweetbacks-baadasssss-song/\" target=\"_blank\" rel=\"noopener\">essay on \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>\u003c/a>, the seminal black independent film by Melvin Van Peebles, but it was unavailable on Netflix’s DVD service, my longtime resource for such fare.\u003c/p>\n\u003cp>This was weird, because I had rented it once before from Netflix, in 2009.\u003c/p>\n\u003cp>What had happened to it?\u003c/p>\n\u003cp>I tried Amazon streaming and iTunes, but no dice. I would have run down to my local video store, but I don’t \u003ci>have\u003c/i> a local video store. I struck out at the San Francisco Public Library as well, leaving me with two choices: I was either going to have to buy the DVD, eating into my fee, or try to download it illegally.\u003c/p>\n\u003cp>Luckily, I found a last-minute solution when my wife borrowed \u003ci>Sweetback\u003c/i> from a library in Marin. But the entire process took about a week, leaving me with less time to write about the film. (\u003cem>Update Sept 23\u003c/em>: The San Francisco Public Library does have the film now, apparently. Someone has also posted it on YouTube. I actually talked to Melvin Van Peebles today and asked him if he’d given permission to anyone to put the film on YouTube. “No,” he said, “but if I run into them in a dark alley they’ll be sorry.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The episode was disconcerting. I had started using Netflix around the millennium because it seemed like a great idea with no downside (the eventual disappearance of video stores notwithstanding). I was paying a fortune in late fees at my local disc-o-mat, and Netflix’s so-called “\u003ca href=\"http://archive.wired.com/wired/archive/12.10/tail.html\" target=\"_blank\" rel=\"noopener\">long tail\u003c/a>” strategy of amassing a vast array of niche content in addition to popular titles appealed to me, as did having the ability to get what looked to be every single movie ever released on DVD delivered straight to my door. And rarely did Netflix disappoint when there was something I wanted to watch, no matter how esoteric.\u003c/p>\n\u003cp>Which is why I have remained one of the doddering, AARP-eligible movie fans who have never moved to Netflix’s streaming service, despite the company’s \u003ca href=\"//news.investors.com/technology-click/072313-664804-nflx-letting-dvd-business-wither.htm%E2%80%9D\">best efforts to push me in that direction\u003c/a>. True, I sometimes feel like my grandmother, who often mistook cell phones for electric razors, but I have my reasons, the main one being the considerable \u003ca href=\"http://news.investors.com/technology-click/072313-664804-nflx-letting-dvd-business-wither.htm\" target=\"_blank\" rel=\"noopener\">dearth of content\u003c/a> on the streaming side. Here’s a for-instance, and as random benchmarks go it’s not bad: \u003ca href=\"http://blogs.indiewire.com/shadowandact/films-on-spike-lees-list-of-essentials-that-are-streaming-on-netflix\" target=\"_blank\" rel=\"noopener\">IndieWire reported last year\u003c/a> that only six of the movies on \u003ca href=\"http://www.slate.com/blogs/browbeat/2013/08/20/spike_lee_s_essential_films_list_revised_the_director_adds_more_women_filmmakers.html\" target=\"_blank\" rel=\"noopener\">Spike Lee’s list of 86 essential films\u003c/a> were available on Netflix streaming. (Lee later \u003ca href=\"http://www.slate.com/blogs/browbeat/2013/08/20/spike_lee_s_essential_films_list_revised_the_director_adds_more_women_filmmakers.html\" target=\"_blank\" rel=\"noopener\">revised the list\u003c/a>, and Netflix currently streams eight of those 94 films.)\u003c/p>\n\u003cp>The meager selection is so notorious that \u003cem>The Onion\u003c/em> targeted it this year. From the humor website in January:\u003c/p>\n\u003cblockquote>\u003cp>“In a swift and unexpected departure from their present business model, officials from Netflix revealed Wednesday that the company is currently considering adding a good movie to their online streaming service…..“We feel the addition of a popular, above-average, well-made film would provide a nice counterbalance to our existing library of poorly received sequels, totally unknown indie dramas from four or five years ago that you’ve never heard of, and horrendous direct-to-DVD horror features.”\u003c/p>\u003c/blockquote>\n\u003ch4>Now Go the DVDs…\u003c/h4>\n\u003cp>And now it seems, while still nowhere as haphazard as the streaming selection, the company’s once reliably complete DVD selection is becoming less so all the time. After my \u003cem>Sweet Sweetback\u003c/em> dilemma, I began to note that some DVDs that used to sit patiently awaiting their turn in my queue had dropped down to the “saved” section, where the time of their availability is listed as “unknown.” I think it is safe to say, you can translate that as “never.” Earlier this year, I mentioned this incredibly shrinking DVD phenomenon to John Taylor, the buyer at San Francisco’s Le Video, and he told me Netflix’s DVD collection was now absent a growing number of significant titles, including a passel of Woody Allen films.\u003c/p>\n\u003cp>Woody Allen? I checked, finding all unavailable as DVDs or Blu-rays: \u003ci>Bananas\u003c/i>, \u003ci>Mighty Aphrodite\u003c/i>, \u003ci>Everyone Says I Love You\u003c/i>, \u003ci>Deconstructing Harry\u003c/i>, \u003ci>Sweet and Lowdown\u003c/i>, \u003ci>Everything You Wanted to Know About Sex *But Were Afraid to Ask\u003c/i>, and \u003ci>September\u003c/i>. And just a few months later, additionally AWOL from Allen’s oeuvre: \u003ci>Love and Death,\u003c/i> \u003ci>Celebrity\u003c/i>, \u003ci>The Curse of the Jade Scorpion\u003c/i>, \u003ci>Small Time Crooks\u003c/i>, \u003ci>Bullets Over Broadway\u003c/i>, and \u003ci>Take the Money and Run. \u003c/i>(Via streaming, you can watch only \u003ci>Annie Hall\u003c/i>, \u003ci>Scoop\u003c/i>, and \u003ci>Manhattan\u003c/i>.)\u003c/p>\n\u003cp>While Netflix’s legacy DVD service still fares relatively well on the Spike Lee test, 11 films from his original list, or 13 percent, are listed as unavailable or “Very long wait.” Watching the mailbox for a “very long wait,” experience shows, is like waiting for The Great Pumpkin. Such staples of home consumption as \u003ci>La Strada\u003c/i>, \u003ci>Raising Arizona\u003c/i> and \u003ci>The Road Warrior\u003c/i> are included in the missing.\u003c/p>\n\u003ch4>Cinephiles in a Bind\u003c/h4>\n\u003cp>Mark Taylor is KQED’s senior interactive producer for arts and culture and teaches media theory and criticism at USF and the Art Institutes of California. He’s on Netflix’s five DVDs-at-at-a-time plan, which costs $27.99 a month ($33.99 including Blu-ray) and has long used Netflix to preview films he’s considering teaching in class. But he says he can no longer rely on the service for research the way he once did.\u003c/p>\n\u003cp>“My experience is that you end up with a bunch of things that have a very long wait and then they never come,” he said. “Things that were once available aren’t anymore.” Nine of the films at the top of his DVD queue are very long waits, he said, “sitting there forever.”\u003c/p>\n\u003cp>Netflix didn’t want to talk to me about their movie catalogue, leaving me to rely on the speculation of a couple of video store folks that the company’s DVD selection is shrinking most likely because it is not replacing damaged disks.\u003c/p>\n\u003cp>“Things go out of print and become much harder to find,” said David Hawkins, co-owner of Lost Weekend Video in San Francisco. He said that when something is no longer available through the usual outlets, breaks or is stolen, any store has to make a decision about whether to invest in purchasing a copy at prices that can be exorbitant because of its scarcity. (Which still wouldn’t explain why Netflix doesn’t have DVDs like \u003ci>Bullets Over Broadway\u003c/i>, \u003ci>Celebrity\u003c/i> or \u003ci>Sweet and Low Down\u003c/i>, readily available to purchase on Amazon.)\u003c/p>\n\u003cp>In any event, for those who still rely on Netflix’s DVD service, the conventional wisdom is it would be wise to prepare to be cast adrift entirely. Netflix says it now makes \u003ca href=\"http://files.shareholder.com/downloads/NFLX/3415305831x0x769748/9b21df7f-743c-4f0f-94da-9f13e384a3d2/July2014EarningsLetter_7.21.14_final.pdf\" target=\"_blank\" rel=\"noopener\">more than twice the profits from streaming than from DVDs\u003c/a>. Last quarter, its DVD business lost another 391,000 subscribers, leaving the total number of physical-media dead-enders, still excited by the sight of a fresh red envelope in the mailbox, at 6.3 million in the U.S. That’s compared to about 35 million streamers. Last year, Netflix started \u003ca href=\"http://mtstandard.com/news/local/netflix-closing-butte-center-due-to-shrinking-dvd-business/article_1eb192e8-20dc-11e3-aef2-001a4bcf887a.html\" target=\"_blank\" rel=\"noopener\">closing its distribution centers around the country\u003c/a> and recently it \u003ca href=\"http://www.latimes.com/business/la-fi-netflix-saturday-delivery-20140717-story.html\" target=\"_blank\" rel=\"noopener\">stopped shipping on Saturdays\u003c/a>. The \u003ca href=\"http://www.theguardian.com/media/2014/jul/22/netflix-dvds-mail-subscription\" target=\"_blank\" rel=\"noopener\">\u003ci>Guardian\u003c/i> reports\u003c/a> that Netflix has spent no money on marketing its DVD business this year. Summing it all up, \u003ca href=\"http://www.latimes.com/business/la-fi-netflix-saturday-delivery-20140717-story.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Businessweek\u003c/i> wrote\u003c/a> last October: “The writing is on the wall … At some point, there’s an end of the line for Netflix’s DVD business. We just don’t quite know yet when that point will come.”\u003c/p>\n\u003ch4>Where Have All The Good Films Gone?\u003c/h4>\n\u003cp>If and when the inevitable does happen, and Netflix sells off its vast supply of DVDs for drink coasters, what will cinephiles like Mark Taylor and I do? Wait for streaming to become as robust as the DVD service once was?\u003c/p>\n\u003cp>Unlikely. The death of Netflix DVDs could very well spell the end of the golden days of one-stop shopping. Check out this 2013 Netflix PR video communicating that the company should no longer be looked upon as a massive movie library. What it really is, it says, is the “Internet’s largest television network.”\u003c/p>\n\u003cblockquote>\u003cp>With every title we add, we remain focused on our goal of being an expert programmer (vocal emphasis in the video) offering a mix that delights our members rather than trying to be a broad distributor. We’re selective about what titles we add to Netflix …. we can’t license everything and also maintain our low prices. So we look for those titles that deliver the biggest viewership relative to the licensing costs. This also means that we’ll forego or choose not to renew some titles that aren’t watched enough relative to their costs.\u003c/p>\u003c/blockquote>\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/VvpoUh9gx58'\n title='//www.youtube.com/embed/VvpoUh9gx58'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What Netflix is talking about here is not just the absence of exotic fare like \u003ci>Sweet Sweetback\u003c/i>, it affects a lot of newer films, too. And that is not going to change anytime soon, writes Farhad Manjoo in his \u003ci>New York Times\u003c/i> piece from March called “\u003ca href=\"http://www.nytimes.com/2014/03/27/technology/personaltech/why-movie-streaming-services-are-unsatisfying-and-will-stay-so.html?_r=0\" target=\"_blank\" rel=\"noopener\">Why Streaming Sites So Fail to Satisfy\u003c/a>.”\u003c/p>\n\u003cp>“(W)e aren’t anywhere close to getting a service that allows customers to pay a single monthly fee for access to a wide range of top-notch movies and TV shows,” he writes. “For those of us with even slightly selective preferences, we’ll have to pick between different rental and subscription services offering different catalogs of programs, none very extensive, at vastly different price points.”\u003c/p>\n\u003cp>The reason? Bloomberg’s Megan McArdle \u003ca href=\"http://www.bloombergview.com/articles/2014-01-14/netflix-is-caught-between-a-dvd-and-a-hard-place\" target=\"_blank\" rel=\"noopener\">put it this way\u003c/a> in January:\u003c/p>\n\u003cblockquote>\u003cp>Old-fashioned video rental stores, and Netflix’s DVD-by-mail service, are governed by something called “first-sale doctrine”: Once I sell you a physical copy of a movie or song, you can do whatever you like with the physical object, except copy it or show it publicly… But streaming is governed by a different set of rules for digital content. You can’t stream a movie to someone unless the rights holders have agreed to let you do so. … Essentially, Netflix cannot afford to buy the rights to all the movies you want to watch.\u003c/p>\u003c/blockquote>\n\u003cp>“The renting of videos was not a permissions-based business model,” says Ted Hope, a film producer and former head of the San Francisco Film Society who is now the CEO of \u003ca href=\"http://www.fandor.com/\" target=\"_blank\" rel=\"noopener\">Fandor\u003c/a>, a subscription streaming site that focuses on independent and art films. “Any store could buy and rent videos. So it was ideal for access; you could find anything, and every city had one of these great video stores that specialized in breadth of content. The irony is we now get to hear about everything better than we ever did, but accessing it is a real challenge, because the licensing model hasn’t evolved at the same pace of technology. Consumers are at this moment where there’s a gulf between what’s affordable for a platform and what licensers expect to get.”\u003c/p>\n\u003ch4>Back to the Video Store?\u003c/h4>\n\u003cp>Megan McArdle wrote in that same article that Netflix’s movie library “is no longer actually a good substitute for a good movie rental place.”\u003c/p>\n\u003cp>You can’t get most of the esoteric stuff online whereas a place like San Francisco’s Le Video, run by certified film nuts, is packed with obscure titles you’ve never even heard of. Ah, Le Video. Mark Taylor still makes the trek across the city from his Potrero Hill home when he can’t procure a film more easily. “Le Video has everything,” he says, exaggerating only slightly. The store, renting videos, DVDs, and Blu-rays since 1980, is home to some 80-90,000 titles, still available even in its \u003ca href=\"http://www.sfgate.com/business/article/Le-Video-survives-thanks-to-partnership-with-5402071.php\" target=\"_blank\" rel=\"noopener\">less roomy incarnation\u003c/a>.\u003c/p>\n\u003cp>So, considering the jejune grab bag of films available via streaming, and assuming streaming may one day be the only game in town, you wonder: Could there be an opportunity for video stores to become relevant again?\u003c/p>\n\u003cp>Michael Fox is a local film critic who used to regularly frequent Gramophone Video on Polk Street to review films for the \u003ca href=\"www.milibrary.org/events/cinemalit-film-series\" target=\"_blank\" rel=\"noopener\">CinemaLit film series\u003c/a> he runs at the Mechanics’ Institute in San Francisco. “If I wanted to check out \u003ci>The Life and Times of Judge Roy Bean\u003c/i>, for instance, I went to Gramophone,” he said.\u003c/p>\n\u003cp>So where does he find those films now that the store is closed?\u003c/p>\n\u003cp>“I’m just not seeing those movies,” he said. “I try and research, do more reading online to get a sense of the picture, or talk to people whose opinions I trust, which is not ideal.”\u003c/p>\n\u003cp>The few remaining \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">local video stores in San Francisco\u003c/a> are barely getting by. Still, they are not devoid of patrons. At Lost Weekend Video on Valencia Street recently, maybe 10 customers entered the store over the course of an hour. I asked one, Cass Cantine of San Francisco, why he still got his movies there. “Local video stores like this have exactly what I want to see when I want to see it,” he said.\u003c/p>\n\u003cp>What about Netflix?\u003c/p>\n\u003cp>“Netflix doesn’t carry what I want.”\u003c/p>\n\u003cp>A \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">recent analysis of the video rental industry\u003c/a> by business forecasting firm IBIS World held out some hope for brick-and-disc stores, provided they can adapt. While the report said the industry is in “the declining stage of its life cycle,” it conceded that “some niche, specialized stores will be able to maintain a profit.” For example, the report said, stores might offer a deep collection of genre or locally relevant films.\u003c/p>\n\u003cp>Gwen Sanderson, co-owner of Video Wave in Noe Valley, says for those who want to simply rent a film as opposed to purchasing, many titles are still only available through video stores. She mentions \u003ci>The Seven Percent Solution\u003c/i>, a Sherlock Holmes movie starring Alan Arkin as Sigmund Freud, unavailable on Netflix or iTunes and purchasable on Amazon for about $18 (and not carried by the San Francisco, Oakland, San Jose, or Berkeley public libraries — still resources for many).\u003c/p>\n\u003cp>“There are hundreds like this,” Sanderson said. “If we close, people will have to buy them to watch them. The reality is we’re going to leave a lot of options behind that are available to us in our current collection.”\u003c/p>\n\u003cp>I asked her if she thought video stores could retool themselves as repositories of harder-to-find titles. “I don’t know if we can address that in time to save our business,” she said. But renting rarer films for a higher fee might be one option, she suggested.\u003c/p>\n\u003ch4>Still, if you really want to see a particular film…\u003c/h4>\n\u003cp>… I have found you probably will be able to find it online — somehow, some way — though your ability to overcome technical obstacles, overlook inferior image quality, and tolerate dipping into the louche world of illegal downloading will dictate the quality of the experience. Technology reporter Alex Hearn of the UK’s \u003ci>Guardian\u003c/i> stuck up for physical media recently when he wrote, “When it comes to discs, a flaky broadband connection or buggy BT Homehub can’t derail the experience — something that can’t be said for streaming. There’s little worse than settling down for an evening movie and watching it buffer for five minutes, before playing 30 seconds then buffering again.”\u003c/p>\n\u003cp>Still, it’s a mark of just how much stuff is out there that I was able to find several films online that interviewees in this piece mentioned were unavailable. And with tools like Google’s Chromecast I could even stream them to my TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "radio-show-the-one-about-oddballs-and-kamikaze-cabaret",
"title": "Radio Show: The One About Oddballs and Kamikaze Cabaret",
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"headTitle": "Radio Show: The One About Oddballs and Kamikaze Cabaret | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>With Cy Musiker away this week, Suzie Racho and David Wiegand scout the Bay Area for things to do this coming weekend and turn up a cabaret diva, a comedy fest, cerebral indie rock and more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/09/20140912tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003cfigure id=\"attachment_10142270\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142270\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/meowmeow.sm_.CRED_.KevinBerne.jpg\" alt=\"Meow Meow\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/meowmeow.sm_.CRED_.KevinBerne.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/meowmeow.sm_.CRED_.KevinBerne-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Photo courtesy kevinberne.com \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘An Audience with Meow Meow’\u003c/h3>\n\u003cp>If you like your cabaret on the safe side, with softened sexuality and rote balladry, then by all means, feel free to miss this run at Berkeley Rep. But if you’re a theatergoer who believes cabaret should be thrilling, risk-taking and interactive, the Australian-born cabaret performer \u003ca href=\"http://www.meowmeowrevolution.com/\" target=\"_blank\" rel=\"noopener\">Meow Meow\u003c/a> never fails to deliver. Known for what’s been dubbed “kamikaze cabaret” (e.g., she occasionally crowdsurfs), the fearless artist injects a shot in the arm of the \u003ca href=\"http://www.youtube.com/watch?v=E3rkLRJ0m0k\" target=\"_blank\" rel=\"noopener\">Sally Bowles tradition\u003c/a> with every show. \u003ca href=\"http://ww2.kqed.org/events/pick/an-audience-with-meow-meow/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/LouisCK.jpg\" alt=\"LouisCK\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LouisCK.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LouisCK-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Oddball Comedy & Curiosity Festival\u003c/h3>\n\u003cp>San Francisco got lucky when comedian Louis CK chose Davies Symphony Hall as a venue on his 2012 tour, for which he sold \u003ca href=\"https://buy.louisck.net/news/im-going-on-the-road\" target=\"_blank\" rel=\"noopener\">$45 tickets with no service charges or sales tax\u003c/a> through his own website. Now, the top comedian in the country headlines at Shoreline Amphitheatre, and what lacks in venue this time around is made up for in the stellar lineup of openers: Sarah Silverman, Marc Maron, Demetri Martin, Jim Gaffigan, Chris Hardwick, Whitney Cummings and Moshe Kasher all make huddling on the lawn worth it. \u003ca href=\"http://ww2.kqed.org/events/pick/oddball-comedy-curiosity-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142266\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/OwenPallett.jpg\" alt=\"OwenPallett\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/OwenPallett.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/OwenPallett-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">Owen Pallett\u003c/h3>\n\u003cp>If you’ve ever been out in public in the past four years, there’s a 97% chance you’ve heard Katy Perry’s “Teenage Dream” squawking out of a speaker somewhere. Yet even those who cursed the overproduced earworm found catharsis in Owen Pallett’s \u003ca href=\"http://www.slate.com/articles/arts/culturebox/2014/03/katy_perry_s_teenage_dream_explaining_the_hit_using_music_theory.html\" target=\"_blank\" rel=\"noopener\">widely shared musicological dissection\u003c/a> of the \u003cdel>evil predatory forces at work\u003c/del> clever production and songwriting elements that made the track a monster hit. Despite the silly title of his first solo album (\u003cem>He Poos Clouds\u003c/em>), Pallett is a vastly smart composer and arranger, having received an Oscar nod for his \u003ca href=\"http://www.youtube.com/watch?v=KhK82a4nZMk\" target=\"_blank\" rel=\"noopener\">film score to \u003cem>Her\u003c/em>\u003c/a> and having shared stage and studio time with Arcade Fire. His latest full-length, \u003cem>In Conflict\u003c/em>, is poetically restrained; live, he can be transcendental. \u003ca href=\"http://ww2.kqed.org/events/pick/owen-pallett/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003cfigure id=\"attachment_10142269\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142269\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MultipleMary.CRED_.AustinForbord.jpg\" alt=\"Photo: Austin Forbord / Rapt\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MultipleMary.CRED_.AustinForbord.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MultipleMary.CRED_.AustinForbord-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Photo: Austin Forbord / Rapt \u003ccite>(Austin Forbord / Rapt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Multiple Mary & Invisible Jane’\u003c/h3>\n\u003cp>For years, the all-female dance company \u003ca href=\"http://flyawayproductions.com/\" target=\"_blank\" rel=\"noopener\">Flyaway Productions\u003c/a> has surprised casual onlookers with free dance performances staged on fire escapes, billboards, cranes, rooftops and flaming chandeliers—”anywhere from two to 100 feet off the ground.” This is no flash-mob gambit, though; the company interweaves social justice into the vertical performances, as in \u003cem>Multiple Mary & Invisible Jane\u003c/em>, which seeks to shine a light on the plight of older homeless women in San Francisco. The show runs on the outside wall of UC Hastings near the Tenderloin sidewalks of so many of its subjects, in plain view, for free. \u003ca href=\"http://ww2.kqed.org/events/pick/multiple-mary-and-invisible-jane/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/RichardBuckner.jpg\" alt=\"RichardBuckner\" width=\"400\" height=\"272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/RichardBuckner.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/RichardBuckner-300x204.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">Richard Buckner\u003c/h3>\n\u003cp>Ever the literary songwriter, Richard Buckner once released an album, \u003ca href=\"http://www.youtube.com/watch?v=4i2UsWrjBCI\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hill\u003c/em>\u003c/a>, based entirely on characters from Edgar Lee Masters’ \u003cem>Spoon River Anthology\u003c/em>. Fourteen years later, Buckner’s affection for the small-town America depicted in Masters’ poems hasn’t ceased, having embarked on whole tours where he plays in strangers’ living rooms in minor cities that most artist tour itineraries overlook. Hailed by Bon Iver’s Justin Vernon as an influence, Buckner casts the sort of spell that can last for years in fandom. \u003ca href=\"http://ww2.kqed.org/events/pick/richard-buckner/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142271\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/LastWeekend.jpg\" alt=\"LastWeekend\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LastWeekend.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LastWeekend-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Last Weekend’ with Tom Dolby\u003c/h3>\n\u003cp>Patricia Clarkson is no stranger to characters stuck in dysfunctional families; her defining television role in \u003cem>Six Feet Under\u003c/em> as Aunt Sarah, along with Academy and Golden Globe nominations for \u003cem>Pieces of April\u003c/em>, attest to her knack for the situation. In \u003cem>Last Weekend\u003c/em>, Clarkson is again at the center of family dysfunction in an acclaimed new film filmed entirely on location in Lake Tahoe. After this week’s screening at the Vogue Theatre, Do List co-host David Weigand conducts a Q&A with screenwriter / director Tom Dolby. \u003ca href=\"http://ww2.kqed.org/events/pick/last-weekend/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Radio Show: The One About Oddballs and Kamikaze Cabaret | KQED",
"description": "With Cy Musiker away this week, Suzie Racho and David Wiegand scout the Bay Area for things to do this coming weekend and turn up a cabaret diva, a comedy fest, cerebral indie rock and more. http://www.kqed.org/.stream/anon/radio/thedolist/2014/09/20140912tdl.mp3 'An Audience with Meow Meow' If you like your cabaret on the safe side, with softened sexuality and rote balladry, then by all means, feel free to miss this run at Berkeley Rep. But if you're a theatergoer who believes cabaret should be thrilling, risk-taking and interactive, the Australian-born cabaret performer Meow Meow never fails to deliver. Known for what's been dubbed "kamikaze",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>With Cy Musiker away this week, Suzie Racho and David Wiegand scout the Bay Area for things to do this coming weekend and turn up a cabaret diva, a comedy fest, cerebral indie rock and more.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003cfigure id=\"attachment_10142270\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142270\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/meowmeow.sm_.CRED_.KevinBerne.jpg\" alt=\"Meow Meow\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/meowmeow.sm_.CRED_.KevinBerne.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/meowmeow.sm_.CRED_.KevinBerne-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Photo courtesy kevinberne.com \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘An Audience with Meow Meow’\u003c/h3>\n\u003cp>If you like your cabaret on the safe side, with softened sexuality and rote balladry, then by all means, feel free to miss this run at Berkeley Rep. But if you’re a theatergoer who believes cabaret should be thrilling, risk-taking and interactive, the Australian-born cabaret performer \u003ca href=\"http://www.meowmeowrevolution.com/\" target=\"_blank\" rel=\"noopener\">Meow Meow\u003c/a> never fails to deliver. Known for what’s been dubbed “kamikaze cabaret” (e.g., she occasionally crowdsurfs), the fearless artist injects a shot in the arm of the \u003ca href=\"http://www.youtube.com/watch?v=E3rkLRJ0m0k\" target=\"_blank\" rel=\"noopener\">Sally Bowles tradition\u003c/a> with every show. \u003ca href=\"http://ww2.kqed.org/events/pick/an-audience-with-meow-meow/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/LouisCK.jpg\" alt=\"LouisCK\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LouisCK.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LouisCK-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Oddball Comedy & Curiosity Festival\u003c/h3>\n\u003cp>San Francisco got lucky when comedian Louis CK chose Davies Symphony Hall as a venue on his 2012 tour, for which he sold \u003ca href=\"https://buy.louisck.net/news/im-going-on-the-road\" target=\"_blank\" rel=\"noopener\">$45 tickets with no service charges or sales tax\u003c/a> through his own website. Now, the top comedian in the country headlines at Shoreline Amphitheatre, and what lacks in venue this time around is made up for in the stellar lineup of openers: Sarah Silverman, Marc Maron, Demetri Martin, Jim Gaffigan, Chris Hardwick, Whitney Cummings and Moshe Kasher all make huddling on the lawn worth it. \u003ca href=\"http://ww2.kqed.org/events/pick/oddball-comedy-curiosity-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142266\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/OwenPallett.jpg\" alt=\"OwenPallett\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/OwenPallett.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/OwenPallett-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">Owen Pallett\u003c/h3>\n\u003cp>If you’ve ever been out in public in the past four years, there’s a 97% chance you’ve heard Katy Perry’s “Teenage Dream” squawking out of a speaker somewhere. Yet even those who cursed the overproduced earworm found catharsis in Owen Pallett’s \u003ca href=\"http://www.slate.com/articles/arts/culturebox/2014/03/katy_perry_s_teenage_dream_explaining_the_hit_using_music_theory.html\" target=\"_blank\" rel=\"noopener\">widely shared musicological dissection\u003c/a> of the \u003cdel>evil predatory forces at work\u003c/del> clever production and songwriting elements that made the track a monster hit. Despite the silly title of his first solo album (\u003cem>He Poos Clouds\u003c/em>), Pallett is a vastly smart composer and arranger, having received an Oscar nod for his \u003ca href=\"http://www.youtube.com/watch?v=KhK82a4nZMk\" target=\"_blank\" rel=\"noopener\">film score to \u003cem>Her\u003c/em>\u003c/a> and having shared stage and studio time with Arcade Fire. His latest full-length, \u003cem>In Conflict\u003c/em>, is poetically restrained; live, he can be transcendental. \u003ca href=\"http://ww2.kqed.org/events/pick/owen-pallett/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003cfigure id=\"attachment_10142269\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142269\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MultipleMary.CRED_.AustinForbord.jpg\" alt=\"Photo: Austin Forbord / Rapt\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MultipleMary.CRED_.AustinForbord.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MultipleMary.CRED_.AustinForbord-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Photo: Austin Forbord / Rapt \u003ccite>(Austin Forbord / Rapt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Multiple Mary & Invisible Jane’\u003c/h3>\n\u003cp>For years, the all-female dance company \u003ca href=\"http://flyawayproductions.com/\" target=\"_blank\" rel=\"noopener\">Flyaway Productions\u003c/a> has surprised casual onlookers with free dance performances staged on fire escapes, billboards, cranes, rooftops and flaming chandeliers—”anywhere from two to 100 feet off the ground.” This is no flash-mob gambit, though; the company interweaves social justice into the vertical performances, as in \u003cem>Multiple Mary & Invisible Jane\u003c/em>, which seeks to shine a light on the plight of older homeless women in San Francisco. The show runs on the outside wall of UC Hastings near the Tenderloin sidewalks of so many of its subjects, in plain view, for free. \u003ca href=\"http://ww2.kqed.org/events/pick/multiple-mary-and-invisible-jane/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/RichardBuckner.jpg\" alt=\"RichardBuckner\" width=\"400\" height=\"272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/RichardBuckner.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/RichardBuckner-300x204.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">Richard Buckner\u003c/h3>\n\u003cp>Ever the literary songwriter, Richard Buckner once released an album, \u003ca href=\"http://www.youtube.com/watch?v=4i2UsWrjBCI\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hill\u003c/em>\u003c/a>, based entirely on characters from Edgar Lee Masters’ \u003cem>Spoon River Anthology\u003c/em>. Fourteen years later, Buckner’s affection for the small-town America depicted in Masters’ poems hasn’t ceased, having embarked on whole tours where he plays in strangers’ living rooms in minor cities that most artist tour itineraries overlook. Hailed by Bon Iver’s Justin Vernon as an influence, Buckner casts the sort of spell that can last for years in fandom. \u003ca href=\"http://ww2.kqed.org/events/pick/richard-buckner/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10142271\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/LastWeekend.jpg\" alt=\"LastWeekend\" width=\"400\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LastWeekend.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/LastWeekend-300x203.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Last Weekend’ with Tom Dolby\u003c/h3>\n\u003cp>Patricia Clarkson is no stranger to characters stuck in dysfunctional families; her defining television role in \u003cem>Six Feet Under\u003c/em> as Aunt Sarah, along with Academy and Golden Globe nominations for \u003cem>Pieces of April\u003c/em>, attest to her knack for the situation. In \u003cem>Last Weekend\u003c/em>, Clarkson is again at the center of family dysfunction in an acclaimed new film filmed entirely on location in Lake Tahoe. After this week’s screening at the Vogue Theatre, Do List co-host David Weigand conducts a Q&A with screenwriter / director Tom Dolby. \u003ca href=\"http://ww2.kqed.org/events/pick/last-weekend/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Film Explores Oakland Teens' Artistic Collaboration",
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"content": "\u003cp>\n\t\u003ca target=\"_self\" href=\"http://vimeo.com/104366696\" rel=\"noopener\">F R E E – Official Trailer\u003c/a> from \u003ca target=\"_self\" href=\"http://vimeo.com/millvalleyfilmfestival\" rel=\"noopener\">Mill Valley Film Festival\u003c/a> on \u003ca target=\"_self\" href=\"https://vimeo.com/\" rel=\"noopener\">Vimeo\u003c/a>.\u003c/p>\n\u003cp> \u003ca href=\"http://www.kqed.org/epArchive/R201409121030?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201409121030?pid=RD19\" target=\"_self\" title=\"Film Explores Oakland Teens' Artistic Collaboration\" rel=\"noopener\">Forum Films\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "How Does 'The Hunger Games: Mockingjay' Handle the Ghost of Philip Seymour Hoffman?",
"title": "How Does 'The Hunger Games: Mockingjay' Handle the Ghost of Philip Seymour Hoffman?",
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"content": "\u003cfigure id=\"attachment_13431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-13431\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg\" alt=\"Photo: Welcome to District 12\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.welcometodistrict12.com/\">Welcome to District 12\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Lily Kelting\u003c/strong>\u003c/p>\n\u003cp>Performance is supposed to be about liveness. TV is \"rawest\" live, sports are shown live, and theater has been selling liveness for millennia. This ethos rubs off even on movies and TV; there is an ongoing tension between the \"living\" work of the actors and the mechanical, “off-stage” work of post-production animators. Theater scholar Marvin Carlson writes, “One of the universals of performance is its ghostliness, its sense of return, the uncanny but inescapable impression that we are seeing what we saw before.” Performance, Carlson muses, is haunted.\u003c/p>\n\u003cp>Marvin Carlson, of course, wasn’t really talking about ghosts -- he’s talking about the way that theater doubles life, presenting cultural and historical forces a second time. But what about ghosts? The teaser trailer for the Hunger Games franchise’s third installment, \u003cem>Mockingjay: Part I\u003c/em>, begins with a voiceover from Philip Seymour Hoffman. An unmistakable throaty growl, “Listen to me...” And yes, we’re listening. This is the first glimpse of the film that viewers have been offered. “The Capitol” has been waging a very clever PR campaign, where mock-propaganda from the dystopia has been released in lieu of traditional trailers.\u003c/p>\n\u003cp>http://youtu.be/JzcYyzCZdiM\u003c/p>\n\u003cp>If theater is seeing what we have seen before, then isn't the movie trailer a way to see what we are about to see? After being tantalized by \u003ca href=\"http://screenrant.com/hunger-games-mockingjay-posters-district-heroes/\">the glossy fashion spreads\u003c/a> as if we, too, were citizens of Panem, the trailer speaks to us as an audience. It says: Come see this movie, starring Philip Seymour Hoffman, Julianne Moore, and Jennifer Lawrence! It does feel uncanny to look forward to an actor’s final film, to hear a voice that you realize is speaking from beyond the grave.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are a handful of ways that one can deal with a deceased actor in post-production. In Heath Ledger’s last unfinished film, \u003cem>The Imaginarium of Doctor Parnassus\u003c/em>, other actors were brought in and lines were redistributed. In Bruce Lee’s last film, \u003cem>Game of Death\u003c/em>, body doubles performed stunts wearing wigs and sunglasses. When Lee had to look in a mirror, the double gazed at a cardboard cut-out. The manipulation of the image of a dead actor breaks down some deep taboos about respect for the dead, especially respect for dead bodies. Attempts to graft the moving face of a posthumous actor onto a body double ignite these same taboos: think the crass recycling of deleted footage from the first three Pink Panther movies to stitch Peter Sellers into a fourth installment, though he died 18 months before the film went into production. There’s also, of course, the ambivalently received posthumous editing of Nancy Marchand into \u003cem>The Sopranos\u003c/em> or Oliver Reed in \u003cem>Gladiator\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uFnJhZa94wA\u003c/p>\n\u003cp>Lionsgate has clearly opted to avoid these latter, loaded solutions. In an interactive promotional packet, director Francis Lawrence and writer Nina Jacobson are clearly responding both to the negative history of technology in posthumous acting and to earlier press materials that made it sound like a CGI Hoffman would star in \u003cem>Mockingjay: Part II\u003c/em>. Lawrence explained, “We finished the majority of his work. I think he might have had 8 to 10 days left on our schedule. In most of those scenes, Phil didn’t have any dialogue. We are going to put him into those scenes, but we’re only using real footage. We’re not creating anything digital or a robotic version of him.” Jacobsen continued, “We might give a line of Plutarch’s to Haymitch or Effie, but only in circumstances that we are able to do that without undermining the intent of the scene.”\u003c/p>\n\u003cp>Part of this reactionary, anti-tech stance must come from Hoffman himself. Philip Seymour Hoffman was an “actor’s actor.” As A.O. Scott stresses, “As the heavy, the weird friend or the volatile co-worker in a big commercial movie he could offer not only comic relief but also the specific pleasure that comes from encountering an actor who takes his art seriously no matter the project. He may have specialized in unhappiness, but you were always glad to see him.” The assumption that the Mockingjay movies would form Hoffman’s epitaph seems off-putting, no matter how much gravitas, humanity or professionalism he brought to the role. To digitally simulate Hoffman’s performance would undo not only the work of one film but of his entire career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But choosing to leave Hoffman’s performance intact only makes it all the more ghostly. His opening speech in the trailer, the cut to Hoffman waggling his eyebrows: it is this humanity and liveliness that makes the movie so haunted. Though the actor dies, the character can and must live without him. And so in sticking to Hoffman’s recorded material, and insisting that the film will represent his talent largely intact, the director and producers stress acting as an important part of the fantasy world of Panem, acting that is embodied, personal, dynamic, even \"live\". The trailer successfully hypes the film’s performances. I, for one, am looking forward to see Julianne Moore, Jennifer Lawrence, and especially Philip Seymour Hoffman. But the unmediated, character-driven realness of the end of the Hunger Games series reminds us that we will never really look forward to another Philip Seymour Hoffman movie again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-13431\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg\" alt=\"Photo: Welcome to District 12\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.welcometodistrict12.com/\">Welcome to District 12\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Lily Kelting\u003c/strong>\u003c/p>\n\u003cp>Performance is supposed to be about liveness. TV is \"rawest\" live, sports are shown live, and theater has been selling liveness for millennia. This ethos rubs off even on movies and TV; there is an ongoing tension between the \"living\" work of the actors and the mechanical, “off-stage” work of post-production animators. Theater scholar Marvin Carlson writes, “One of the universals of performance is its ghostliness, its sense of return, the uncanny but inescapable impression that we are seeing what we saw before.” Performance, Carlson muses, is haunted.\u003c/p>\n\u003cp>Marvin Carlson, of course, wasn’t really talking about ghosts -- he’s talking about the way that theater doubles life, presenting cultural and historical forces a second time. But what about ghosts? The teaser trailer for the Hunger Games franchise’s third installment, \u003cem>Mockingjay: Part I\u003c/em>, begins with a voiceover from Philip Seymour Hoffman. An unmistakable throaty growl, “Listen to me...” And yes, we’re listening. This is the first glimpse of the film that viewers have been offered. “The Capitol” has been waging a very clever PR campaign, where mock-propaganda from the dystopia has been released in lieu of traditional trailers.\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/JzcYyzCZdiM'\n title='//www.youtube.com/embed/JzcYyzCZdiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If theater is seeing what we have seen before, then isn't the movie trailer a way to see what we are about to see? After being tantalized by \u003ca href=\"http://screenrant.com/hunger-games-mockingjay-posters-district-heroes/\">the glossy fashion spreads\u003c/a> as if we, too, were citizens of Panem, the trailer speaks to us as an audience. It says: Come see this movie, starring Philip Seymour Hoffman, Julianne Moore, and Jennifer Lawrence! It does feel uncanny to look forward to an actor’s final film, to hear a voice that you realize is speaking from beyond the grave.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are a handful of ways that one can deal with a deceased actor in post-production. In Heath Ledger’s last unfinished film, \u003cem>The Imaginarium of Doctor Parnassus\u003c/em>, other actors were brought in and lines were redistributed. In Bruce Lee’s last film, \u003cem>Game of Death\u003c/em>, body doubles performed stunts wearing wigs and sunglasses. When Lee had to look in a mirror, the double gazed at a cardboard cut-out. The manipulation of the image of a dead actor breaks down some deep taboos about respect for the dead, especially respect for dead bodies. Attempts to graft the moving face of a posthumous actor onto a body double ignite these same taboos: think the crass recycling of deleted footage from the first three Pink Panther movies to stitch Peter Sellers into a fourth installment, though he died 18 months before the film went into production. There’s also, of course, the ambivalently received posthumous editing of Nancy Marchand into \u003cem>The Sopranos\u003c/em> or Oliver Reed in \u003cem>Gladiator\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uFnJhZa94wA'\n title='//www.youtube.com/embed/uFnJhZa94wA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lionsgate has clearly opted to avoid these latter, loaded solutions. In an interactive promotional packet, director Francis Lawrence and writer Nina Jacobson are clearly responding both to the negative history of technology in posthumous acting and to earlier press materials that made it sound like a CGI Hoffman would star in \u003cem>Mockingjay: Part II\u003c/em>. Lawrence explained, “We finished the majority of his work. I think he might have had 8 to 10 days left on our schedule. In most of those scenes, Phil didn’t have any dialogue. We are going to put him into those scenes, but we’re only using real footage. We’re not creating anything digital or a robotic version of him.” Jacobsen continued, “We might give a line of Plutarch’s to Haymitch or Effie, but only in circumstances that we are able to do that without undermining the intent of the scene.”\u003c/p>\n\u003cp>Part of this reactionary, anti-tech stance must come from Hoffman himself. Philip Seymour Hoffman was an “actor’s actor.” As A.O. Scott stresses, “As the heavy, the weird friend or the volatile co-worker in a big commercial movie he could offer not only comic relief but also the specific pleasure that comes from encountering an actor who takes his art seriously no matter the project. He may have specialized in unhappiness, but you were always glad to see him.” The assumption that the Mockingjay movies would form Hoffman’s epitaph seems off-putting, no matter how much gravitas, humanity or professionalism he brought to the role. To digitally simulate Hoffman’s performance would undo not only the work of one film but of his entire career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But choosing to leave Hoffman’s performance intact only makes it all the more ghostly. His opening speech in the trailer, the cut to Hoffman waggling his eyebrows: it is this humanity and liveliness that makes the movie so haunted. Though the actor dies, the character can and must live without him. And so in sticking to Hoffman’s recorded material, and insisting that the film will represent his talent largely intact, the director and producers stress acting as an important part of the fantasy world of Panem, acting that is embodied, personal, dynamic, even \"live\". The trailer successfully hypes the film’s performances. I, for one, am looking forward to see Julianne Moore, Jennifer Lawrence, and especially Philip Seymour Hoffman. But the unmediated, character-driven realness of the end of the Hunger Games series reminds us that we will never really look forward to another Philip Seymour Hoffman movie again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fall-film-a-bevy-of-bay-area-festivals-and-retrospectives",
"title": "Fall Film: A Bevy of Bay Area Festivals and Retrospectives",
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"headTitle": "Fall Film: A Bevy of Bay Area Festivals and Retrospectives | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>In addition to the flurry of high-minded, highly anticipated movies from the studios and arthouse distributors, the calendar flip into fall triggers an avalanche of buzzing festivals and carefully curated series. The diversity of the Bay Area, paired with a curious, adventurous and film-savvy populace, inspires programmers to bring us the whole wide world of movies. ‘Tis the season to break out of your comfort zone, broaden your tastes, and go in search of surprise, delight, knowledge and amazement. Here are some choice destinations where the unexpected is de rigueur.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141992\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/georgian.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/georgian-400x291.jpg\" alt=\"Title of Film\" width=\"400\" height=\"291\" class=\"size-thumbnail wp-image-10141992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/georgian-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/georgian-300x218.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/georgian.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cb>Discovering Georgian Cinema\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Discovering Georgian Cinema\u003c/h3>\n\u003ch5>Sept. 26, 2014 – April 19, 2015\u003cbr>\nPacific Film Archive, 2575 Bancroft Way, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/georgian\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>I’d prefer to start the proceedings with something more familiar, but fall is the traditional time of the year for new ideas and experiences, right? This retrospective of Georgian movies, the largest ever assembled in North America, takes a deep dive into a national cinema that traces its roots to the silent era. Humanist dramas, satires of Soviet shortcomings, pioneering experiments in storytelling, revelatory documentaries and contemporary sagas of identity and ambition fill the bill. The only period from the last century that’s essentially ignored is the Stalin era — understandable given the reels of propaganda and paucity of art and innovation during his rule, but ironic given Joe’s Georgian origins.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141993\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/difret.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/difret-400x266.jpg\" alt=\"<i>Difret</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/difret-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/difret-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/difret.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Difret\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Zeresenay Mehari in residence\u003c/h3>\n\u003ch5>Oct. 1-14\u003cbr>\nS.F. Film Society\u003cbr>\n\u003ca href=\"http://www.sffs.org/education/artist-in-residence#.U_y1qChOS-8\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The Ethiopian-born, USC film school-educated director Zeresenay Berhane Mehari is having quite a year. His gripping feature debut, \u003cem>Difret\u003c/em>, won audience awards at Sundance (where it premiered) and Berlin, and played the San Francisco International Film Festival in the spring. He returns for two weeks as the S.F. Film Society’s latest artist in residence, with a slate of speaking appearances at various schools, a meet-and-greet with local filmmakers and a public screening of \u003cem>Difret\u003c/em> (Oct. 9 at Embarcadero Center Cinema in San Francisco). The harrowing, fact-based drama exposes the long-standing Ethiopian tradition of \u003cem>telefa\u003c/em> — the abduction (and rape) of adolescent girls for marriage — through a mid-‘90s kidnapping that provoked an act of self-defense and led to a controversial trial.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141994\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/charliescountry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/charliescountry-400x225.jpg\" alt=\"<i>Charlie's Country</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/charliescountry-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/charliescountry-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/charliescountry.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Charlie’s Country\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 2-12\u003cbr>\nSequoia and Throckmorton Theaters, Mill Valley; Rafael Film Center, San Rafael\u003cbr>\n\u003ca href=\"http://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Laid back yet socially conscious, the venerable Marin County bash smoothly blends character-driven dramas accompanied by glamorous stars with incisive documentaries introduced by the (often local) filmmakers. New Bay Area films with local subjects include Christopher Beaver’s \u003cem>Racing to Zero: In Pursuit of Zero Waste\u003c/em>, William Farley’s \u003cem>Plastic Man: The Artful Life of Jerry Barrish\u003c/em> and Helen Cohen and Mark Lipman’s \u003cem>State of Grace\u003c/em>. Australia sends the acclaimed Aborigine saga \u003cem>Charlie’s Country\u003c/em>, while African master Abderrahman Soudais presents his Cannes triumph \u003cem>Timbuktu\u003c/em>. The Oscar hopefuls and movie stars that are a key part of the festival haven’t been announced yet, though you’ll find some likely candidates in my \u003ca href=\"http://ww2.kqed.org/arts/2014/08/29/fall-film-a-bakers-dozen-of-must-see-hollywood-and-indie-movies/\">fall preview of Hollywood and independent films\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141995\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2-.jpg\" alt=\"<i>Alcatraz Is Not An Island</i>\" width=\"400\" height=\"213\" class=\"size-full wp-image-10141995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2-.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2--300x159.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Alcatraz Is Not An Island\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lest We Forget: Remembering Radical San Francisco\u003c/h3>\n\u003ch5>Oct. 2-26\u003cbr>\nYerba Buena Center For the Arts, 701 Mission Street, S.F.\u003cbr>\n\u003ca href=\"http://www.ybca.org/programs/film-and-video\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The Bay Area’s longstanding embrace of social activism and pursuit of justice recedes into history with every passing day and wave of young, apolitical arrivals. Joel Shepard aspires to light a fire under the tushes of keyboard-tapping techies — and the rest of us — with a collection of classics and forgotten artifacts of the numerous occasions San Franciscans fought the power. Whet your appetite with these titles, and know there is much more where they came from: \u003cem>Take This Hammer\u003c/em> (1963), \u003cem>The Times of Harvey Milk\u003c/em> (1984), \u003cem>Alcatraz Is Not an Island\u003c/em> (2001) and \u003cem>Farmcore: The Punk Rock Years\u003c/em> (1989).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142001\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/jump.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/jump-400x236.jpg\" alt=\"<i>It's Better to Jump</i>\" width=\"400\" height=\"236\" class=\"size-thumbnail wp-image-10142001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/jump-400x236.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/jump-300x177.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/jump.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>It’s Better to Jump\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Arab Film Festival\u003c/h3>\n\u003ch5>Oct. 10-23\u003cbr>\nVarious Bay Area venues\u003cbr>\n\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A celebration of culture, identity, tradition and modernity, the Arab Film Festival taps into the deeply felt emotions of living in the diaspora. The 18th annual edition will likely be the most impassioned in recent years, with the war in Gaza and the suffering of civilians still going on. Count on the festival to showcase a stereotype-busting array of character-oriented films from the Arab world, films that will see the light of a projector in only a handful of American cities. The Arab Film Festival is much more than a sure-fire antidote to cable news, but it is assuredly that.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141997\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wamplersascent.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wamplersascent-400x266.jpg\" alt=\"<i>Wampler’s Ascent</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wamplersascent-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wamplersascent-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wamplersascent.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Wampler’s Ascent\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>ReelAbilities Bay Area Disabilities Film Festival \u003c/h3>\n\u003ch5>Oct. 15-19\u003cbr>\nNew Parkway Theater, Oakland; New People Cinema and de Young Museum, S.F.\u003cbr>\n\u003ca href=\"http://bayarea.reelabilities.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In an innovative and exciting bi-coastal partnership, Oakland’s Creative Growth Art Center has joined with ReelAbilities: NY Disabilities Film Festival to debut a Bay Area edition of the respected event. The fest’s life-affirming slant is expressed in the opening night film, \u003cem>Wampler’s Ascent\u003c/em>, which chronicles Steve Wampler’s attempt to be the first person with a disability to top Yosemite’s El Capitan. The majority of the films spotlight people with Down syndrome, autism and blindness, and provide visceral evidence that a disability is not a handicap.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Art & Resolution: Films of Afro-Cuban Life and History\u003c/h3>\n\u003ch5>Oct. 16 – Nov. 20\u003cbr>\nMuseum of the African Diaspora, 685 Mission Street, S.F.\u003cbr>\n\u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In conjunction with the touring exhibition \u003cb>Drapetomania: Grupo Antillano and the Art of Afro-Cuba\u003c/b>, MOAD illuminates the African presence and influence in Cuba via a weekly series of rare biopics, dramas, docs and shorts curated and introduced by Cornelius Moore. The longtime co-director of S.F.-based California Newsreel (the leading educational distributor of African and African American themed films) raises the curtain with \u003cem>El Benny\u003c/em> (Oct. 16), the 2006 biopic of beloved Cuban singer Benny Moré. Another highlight is Cuba-based filmmaker Gloria Rolando’s appearance with \u003cem>Reembarque\u003c/em> (Nov. 5), her vivid new documentary about Haitian migrant workers in Cuba during the 20th Century and their legacy in the 21st.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141999\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pelicandreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pelicandreams-400x225.jpg\" alt=\"<i>Pelican Dreams</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pelicandreams-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pelicandreams-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pelicandreams.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pelican Dreams\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Pelican Dreams\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 24\u003cbr>\nBalboa Theater, S.F.; Rialto Cinema Elmwood, Berkeley; Rafael Film Center, San Rafael\u003c/h5>\n\u003cp>San Francisco documentary filmmaker Judy Irving’s long-awaited follow-up to her endearing, profound and wholly unexpected hit, \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>, continues her fascination with our winged friends — in this case, the California brown pelican. Starting with a misguided young bird’s traffic-snarling landing on the Golden Gate Bridge a few years ago, Irving gradually widens the perspective until the seductive film includes all of us who live on or near the ocean or bay and draw sustenance (of whatever kind) from the water.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142000\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/woronov.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/woronov.jpg\" alt=\"Mary Woronov in <i>Chelsea Girls</i>\" width=\"400\" height=\"300\" class=\"size-full wp-image-10142000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/woronov.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/woronov-300x225.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Woronov in \u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Woronov, Warhol Superstar\u003c/h3>\n\u003ch5>Nov. 6-7\u003cbr>\nCastro Theater and Yerba Buena Center For the Arts, S.F.\u003cbr>\n\u003ca href=\"http://www.sfcinematheque.org/screenings/mary-woronov-warhol-superstar-the-chelsea-girls/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The iconoclastic actress, writer and painter Mary Woronov has garnered admirers from every stage of her career. Introduced to the public by Andy Warhol, she went on to work with her late, great friend Paul Bartel on the cult hits \u003cem>Death Race 2000\u003c/em>, \u003cem>Eating Raoul\u003c/em> and \u003cem>Scenes From the Class Struggle in Beverly Hills\u003c/em>. Her immortality was assured by an iconic performance as Miss Togar (opposite Bartel and the Ramones) in \u003cem>Rock ‘n’ Roll High School\u003c/em>. S.F. Cinematheque brings Woronov to town to introduce a pair of Warhol films from 1966 in which she starred, \u003cem>Chelsea Girls\u003c/em> (a double-screen projection Nov. 6 at the Castro) and \u003cem>Hedy\u003c/em> (Nov. 7 at YBCA). Mark your calendar now.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141996\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/3rdi.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/3rdi-400x225.jpg\" alt=\"name of film\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/3rdi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/3rdi-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/3rdi.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>UPAJ: IMPROVISE\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>3rd I’s South Asian International Film Festival: Bollywood and Beyond \u003c/h3>\n\u003ch5>Nov. 6-9 and 15\u003cbr>\nCastro Theater and New People Cinema, S.F.; Aquarius Theater,Palo Alto\u003cbr>\n\u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>3rd I’s success at selling out the Castro for the annual Bollywood blowout (not to downplay the attendance at all the other festival screenings) may have something to do with this year’s across-the-board emphasis on music and dance. A clear highlight is a performance by Indian master kathak dancer Chitresh Das and African American tap dancer Jason Samuels Smith, whose collaboration to create a hybrid style they call India Jazz Suites is documented in \u003cem>Upaj: Improvise\u003c/em>. There’s lots more, capped with a revival of the recently restored \u003cem>Kalpana\u003c/em> (1948), a breathtaking biopic that emphasizes dance over dialogue.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142003\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02-400x266.jpg\" alt=\"<i>Misunderstood</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10142003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Misunderstood\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>France, Italy, Hong Kong\u003c/h3>\n\u003ch5>French Cinema Now: Nov. 6–9\u003cbr>\nHong Kong Cinema: Nov. 14–16\u003cbr>\nNew Italian Cinema: Nov. 19–23\u003cbr>\nVogue Theatre, 3290 Sacramento Street, S.F.\u003cbr>\n\u003ca href=\"http://www.sffs.org/exhibition\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>After immersing yourself in exotic locales and esoteric subjects, Europe and Hong Kong may feel downright familiar and comfortable. The San Francisco Film Society’s annual surveys of new movies from beloved filmmaking capitals encompass all types of entertainments — romantic Parisian complications and comedy, displacement and alienation in Hong Kong (and maybe a dash of action, for old times’ sake) and youth on the move in Milan and Rome. The mix includes a few recognizable actresses and esteemed filmmakers, but these series primarily provide a showcase for new talent. If you somehow resist or suppress the restless spirit of discovery in September and October, here are three splendid ways to get your passport stamped. With movies, like everything else, too much comfort is the kiss of death.\u003c/p>\u003c/div>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The whole wide world comes to the Bay Area, albeit at 24 or 30 frames per second.",
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"title": "Fall Film: A Bevy of Bay Area Festivals and Retrospectives | KQED",
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"headline": "Fall Film: A Bevy of Bay Area Festivals and Retrospectives",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>In addition to the flurry of high-minded, highly anticipated movies from the studios and arthouse distributors, the calendar flip into fall triggers an avalanche of buzzing festivals and carefully curated series. The diversity of the Bay Area, paired with a curious, adventurous and film-savvy populace, inspires programmers to bring us the whole wide world of movies. ‘Tis the season to break out of your comfort zone, broaden your tastes, and go in search of surprise, delight, knowledge and amazement. Here are some choice destinations where the unexpected is de rigueur.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141992\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/georgian.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/georgian-400x291.jpg\" alt=\"Title of Film\" width=\"400\" height=\"291\" class=\"size-thumbnail wp-image-10141992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/georgian-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/georgian-300x218.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/georgian.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cb>Discovering Georgian Cinema\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Discovering Georgian Cinema\u003c/h3>\n\u003ch5>Sept. 26, 2014 – April 19, 2015\u003cbr>\nPacific Film Archive, 2575 Bancroft Way, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/georgian\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>I’d prefer to start the proceedings with something more familiar, but fall is the traditional time of the year for new ideas and experiences, right? This retrospective of Georgian movies, the largest ever assembled in North America, takes a deep dive into a national cinema that traces its roots to the silent era. Humanist dramas, satires of Soviet shortcomings, pioneering experiments in storytelling, revelatory documentaries and contemporary sagas of identity and ambition fill the bill. The only period from the last century that’s essentially ignored is the Stalin era — understandable given the reels of propaganda and paucity of art and innovation during his rule, but ironic given Joe’s Georgian origins.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141993\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/difret.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/difret-400x266.jpg\" alt=\"<i>Difret</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/difret-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/difret-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/difret.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Difret\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Zeresenay Mehari in residence\u003c/h3>\n\u003ch5>Oct. 1-14\u003cbr>\nS.F. Film Society\u003cbr>\n\u003ca href=\"http://www.sffs.org/education/artist-in-residence#.U_y1qChOS-8\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The Ethiopian-born, USC film school-educated director Zeresenay Berhane Mehari is having quite a year. His gripping feature debut, \u003cem>Difret\u003c/em>, won audience awards at Sundance (where it premiered) and Berlin, and played the San Francisco International Film Festival in the spring. He returns for two weeks as the S.F. Film Society’s latest artist in residence, with a slate of speaking appearances at various schools, a meet-and-greet with local filmmakers and a public screening of \u003cem>Difret\u003c/em> (Oct. 9 at Embarcadero Center Cinema in San Francisco). The harrowing, fact-based drama exposes the long-standing Ethiopian tradition of \u003cem>telefa\u003c/em> — the abduction (and rape) of adolescent girls for marriage — through a mid-‘90s kidnapping that provoked an act of self-defense and led to a controversial trial.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141994\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/charliescountry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/charliescountry-400x225.jpg\" alt=\"<i>Charlie's Country</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/charliescountry-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/charliescountry-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/charliescountry.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Charlie’s Country\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 2-12\u003cbr>\nSequoia and Throckmorton Theaters, Mill Valley; Rafael Film Center, San Rafael\u003cbr>\n\u003ca href=\"http://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Laid back yet socially conscious, the venerable Marin County bash smoothly blends character-driven dramas accompanied by glamorous stars with incisive documentaries introduced by the (often local) filmmakers. New Bay Area films with local subjects include Christopher Beaver’s \u003cem>Racing to Zero: In Pursuit of Zero Waste\u003c/em>, William Farley’s \u003cem>Plastic Man: The Artful Life of Jerry Barrish\u003c/em> and Helen Cohen and Mark Lipman’s \u003cem>State of Grace\u003c/em>. Australia sends the acclaimed Aborigine saga \u003cem>Charlie’s Country\u003c/em>, while African master Abderrahman Soudais presents his Cannes triumph \u003cem>Timbuktu\u003c/em>. The Oscar hopefuls and movie stars that are a key part of the festival haven’t been announced yet, though you’ll find some likely candidates in my \u003ca href=\"http://ww2.kqed.org/arts/2014/08/29/fall-film-a-bakers-dozen-of-must-see-hollywood-and-indie-movies/\">fall preview of Hollywood and independent films\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141995\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2-.jpg\" alt=\"<i>Alcatraz Is Not An Island</i>\" width=\"400\" height=\"213\" class=\"size-full wp-image-10141995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2-.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Alcatraz-is-not-an-Island2--300x159.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Alcatraz Is Not An Island\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lest We Forget: Remembering Radical San Francisco\u003c/h3>\n\u003ch5>Oct. 2-26\u003cbr>\nYerba Buena Center For the Arts, 701 Mission Street, S.F.\u003cbr>\n\u003ca href=\"http://www.ybca.org/programs/film-and-video\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The Bay Area’s longstanding embrace of social activism and pursuit of justice recedes into history with every passing day and wave of young, apolitical arrivals. Joel Shepard aspires to light a fire under the tushes of keyboard-tapping techies — and the rest of us — with a collection of classics and forgotten artifacts of the numerous occasions San Franciscans fought the power. Whet your appetite with these titles, and know there is much more where they came from: \u003cem>Take This Hammer\u003c/em> (1963), \u003cem>The Times of Harvey Milk\u003c/em> (1984), \u003cem>Alcatraz Is Not an Island\u003c/em> (2001) and \u003cem>Farmcore: The Punk Rock Years\u003c/em> (1989).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142001\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/jump.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/jump-400x236.jpg\" alt=\"<i>It's Better to Jump</i>\" width=\"400\" height=\"236\" class=\"size-thumbnail wp-image-10142001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/jump-400x236.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/jump-300x177.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/jump.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>It’s Better to Jump\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Arab Film Festival\u003c/h3>\n\u003ch5>Oct. 10-23\u003cbr>\nVarious Bay Area venues\u003cbr>\n\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A celebration of culture, identity, tradition and modernity, the Arab Film Festival taps into the deeply felt emotions of living in the diaspora. The 18th annual edition will likely be the most impassioned in recent years, with the war in Gaza and the suffering of civilians still going on. Count on the festival to showcase a stereotype-busting array of character-oriented films from the Arab world, films that will see the light of a projector in only a handful of American cities. The Arab Film Festival is much more than a sure-fire antidote to cable news, but it is assuredly that.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141997\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wamplersascent.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wamplersascent-400x266.jpg\" alt=\"<i>Wampler’s Ascent</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wamplersascent-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wamplersascent-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wamplersascent.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Wampler’s Ascent\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>ReelAbilities Bay Area Disabilities Film Festival \u003c/h3>\n\u003ch5>Oct. 15-19\u003cbr>\nNew Parkway Theater, Oakland; New People Cinema and de Young Museum, S.F.\u003cbr>\n\u003ca href=\"http://bayarea.reelabilities.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In an innovative and exciting bi-coastal partnership, Oakland’s Creative Growth Art Center has joined with ReelAbilities: NY Disabilities Film Festival to debut a Bay Area edition of the respected event. The fest’s life-affirming slant is expressed in the opening night film, \u003cem>Wampler’s Ascent\u003c/em>, which chronicles Steve Wampler’s attempt to be the first person with a disability to top Yosemite’s El Capitan. The majority of the films spotlight people with Down syndrome, autism and blindness, and provide visceral evidence that a disability is not a handicap.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Art & Resolution: Films of Afro-Cuban Life and History\u003c/h3>\n\u003ch5>Oct. 16 – Nov. 20\u003cbr>\nMuseum of the African Diaspora, 685 Mission Street, S.F.\u003cbr>\n\u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In conjunction with the touring exhibition \u003cb>Drapetomania: Grupo Antillano and the Art of Afro-Cuba\u003c/b>, MOAD illuminates the African presence and influence in Cuba via a weekly series of rare biopics, dramas, docs and shorts curated and introduced by Cornelius Moore. The longtime co-director of S.F.-based California Newsreel (the leading educational distributor of African and African American themed films) raises the curtain with \u003cem>El Benny\u003c/em> (Oct. 16), the 2006 biopic of beloved Cuban singer Benny Moré. Another highlight is Cuba-based filmmaker Gloria Rolando’s appearance with \u003cem>Reembarque\u003c/em> (Nov. 5), her vivid new documentary about Haitian migrant workers in Cuba during the 20th Century and their legacy in the 21st.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141999\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pelicandreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pelicandreams-400x225.jpg\" alt=\"<i>Pelican Dreams</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pelicandreams-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pelicandreams-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pelicandreams.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pelican Dreams\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Pelican Dreams\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 24\u003cbr>\nBalboa Theater, S.F.; Rialto Cinema Elmwood, Berkeley; Rafael Film Center, San Rafael\u003c/h5>\n\u003cp>San Francisco documentary filmmaker Judy Irving’s long-awaited follow-up to her endearing, profound and wholly unexpected hit, \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>, continues her fascination with our winged friends — in this case, the California brown pelican. Starting with a misguided young bird’s traffic-snarling landing on the Golden Gate Bridge a few years ago, Irving gradually widens the perspective until the seductive film includes all of us who live on or near the ocean or bay and draw sustenance (of whatever kind) from the water.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142000\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/woronov.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/woronov.jpg\" alt=\"Mary Woronov in <i>Chelsea Girls</i>\" width=\"400\" height=\"300\" class=\"size-full wp-image-10142000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/woronov.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/woronov-300x225.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Woronov in \u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Woronov, Warhol Superstar\u003c/h3>\n\u003ch5>Nov. 6-7\u003cbr>\nCastro Theater and Yerba Buena Center For the Arts, S.F.\u003cbr>\n\u003ca href=\"http://www.sfcinematheque.org/screenings/mary-woronov-warhol-superstar-the-chelsea-girls/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The iconoclastic actress, writer and painter Mary Woronov has garnered admirers from every stage of her career. Introduced to the public by Andy Warhol, she went on to work with her late, great friend Paul Bartel on the cult hits \u003cem>Death Race 2000\u003c/em>, \u003cem>Eating Raoul\u003c/em> and \u003cem>Scenes From the Class Struggle in Beverly Hills\u003c/em>. Her immortality was assured by an iconic performance as Miss Togar (opposite Bartel and the Ramones) in \u003cem>Rock ‘n’ Roll High School\u003c/em>. S.F. Cinematheque brings Woronov to town to introduce a pair of Warhol films from 1966 in which she starred, \u003cem>Chelsea Girls\u003c/em> (a double-screen projection Nov. 6 at the Castro) and \u003cem>Hedy\u003c/em> (Nov. 7 at YBCA). Mark your calendar now.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141996\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/3rdi.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/3rdi-400x225.jpg\" alt=\"name of film\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/3rdi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/3rdi-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/3rdi.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>UPAJ: IMPROVISE\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>3rd I’s South Asian International Film Festival: Bollywood and Beyond \u003c/h3>\n\u003ch5>Nov. 6-9 and 15\u003cbr>\nCastro Theater and New People Cinema, S.F.; Aquarius Theater,Palo Alto\u003cbr>\n\u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>3rd I’s success at selling out the Castro for the annual Bollywood blowout (not to downplay the attendance at all the other festival screenings) may have something to do with this year’s across-the-board emphasis on music and dance. A clear highlight is a performance by Indian master kathak dancer Chitresh Das and African American tap dancer Jason Samuels Smith, whose collaboration to create a hybrid style they call India Jazz Suites is documented in \u003cem>Upaj: Improvise\u003c/em>. There’s lots more, capped with a revival of the recently restored \u003cem>Kalpana\u003c/em> (1948), a breathtaking biopic that emphasizes dance over dialogue.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142003\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02-400x266.jpg\" alt=\"<i>Misunderstood</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10142003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/NICE-Misunderstood_02.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Misunderstood\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>France, Italy, Hong Kong\u003c/h3>\n\u003ch5>French Cinema Now: Nov. 6–9\u003cbr>\nHong Kong Cinema: Nov. 14–16\u003cbr>\nNew Italian Cinema: Nov. 19–23\u003cbr>\nVogue Theatre, 3290 Sacramento Street, S.F.\u003cbr>\n\u003ca href=\"http://www.sffs.org/exhibition\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>After immersing yourself in exotic locales and esoteric subjects, Europe and Hong Kong may feel downright familiar and comfortable. The San Francisco Film Society’s annual surveys of new movies from beloved filmmaking capitals encompass all types of entertainments — romantic Parisian complications and comedy, displacement and alienation in Hong Kong (and maybe a dash of action, for old times’ sake) and youth on the move in Milan and Rome. The mix includes a few recognizable actresses and esteemed filmmakers, but these series primarily provide a showcase for new talent. If you somehow resist or suppress the restless spirit of discovery in September and October, here are three splendid ways to get your passport stamped. With movies, like everything else, too much comfort is the kiss of death.\u003c/p>\u003c/div>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"title": "It Lives: Artists' Television Access Turns Thirty",
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"content": "\u003cfigure id=\"attachment_10141801\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/postfireposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/postfireposter-400x636.jpg\" alt=\"A poster for the benefit event to revive ATA after a fire destroyed the gallery's original location.\" width=\"400\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/postfireposter-400x636.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/postfireposter-188x300.jpg 188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/postfireposter.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A poster for the benefit event to revive ATA after a fire destroyed the gallery’s original location.\u003c/figcaption>\u003c/figure>\n\u003cp>Artists’ Television Access (ATA) is celebrating its birthday this Friday, September 5, with a 30-hour video marathon, one hour for every year of its existence. Wait. What? ATA has been around for 30 years? How did that happen? What pulsating nuclear death ray, what glowing green industrial slime spawned such a hardy creature? Marshall Weber, the evil genius who founded ATA (with John Martin) in the early 1980s just happens to be in town and will be showing \u003ci>Flatlands\u003c/i>, his 130-minute video masterwork as part of the marathon, which starts at 1pm on Friday, ends Saturday evening at 7pm and will be followed by a celebratory party. I asked Weber to recount ATA’s origin story.\u003c/p>\n\u003cp>In order to understand how an organization with such an unlikely moniker — Artists’ \u003ci>Television\u003c/i> ACCESS — arose, you have to step into a time tunnel, throw away your cell phone, dismantle your computer and forget the ubiquity of modern video. You have to imagine, if you will, a time before portable video cameras, non-linear video editing and YouTube. The year is 1980 and a young Marshall Weber drives cross country from New York in a ’65 Mustang to attend graduate school at the San Francisco Art Institute, where he studies performance and video — and meets John Martin.\u003c/p>\n\u003cfigure id=\"attachment_10141802\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/marshallweber.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141802\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/marshallweber.jpg\" alt=\"Marshall Weber circa 1986; Photo by Taryn Fling\" width=\"640\" height=\"882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/marshallweber.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/marshallweber-400x551.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/marshallweber-217x300.jpg 217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marshall Weber circa 1986; Photo by Taryn Fling\u003c/figcaption>\u003c/figure>\n\u003cp>This is a time before art schools were so corporate; the only people institutionalized there were those professors coasting to retirement. Relationships between students and faculty were unnaturally (by today’s standards) egalitarian and often uncomfortably competitive and confrontational. (We live in a much “smoother” era today.) Weber didn’t much care for most of the teachers he encountered at SFAI, though he was deeply affected by the cultural politics of James Broughton and George Kuchar, both world-famous queer experimental filmmakers who taught at the school for years. “It’s one thing when some straight white man is showing you a film about \u003ca href=\"http://en.wikipedia.org/wiki/Red_Army_Faction\" target=\"_blank\" rel=\"noopener\">Baader-Meinhof\u003c/a>; it’s an entirely different thing when a screaming gay man who is totally involved in the leather scene is teaching you about film history while on LSD,” he notes.\u003c/p>\n\u003cp>Martin dropped out of school and Weber was encouraged to graduate early, so the two decided to open a gallery, which was originally located South of Market and named Martin-Weber. The whole ATA enterprise really began around equipment. “We thought there should be an art gallery that focused on technology and the focus should be on getting artists access to this incredible tech that was obviously going to blow up. It’s ridiculous now to think that this ‘access’ was to one camera, one video editing system and a couple of monitors. The pretension is kind of fabulous, but it was sincere,” Weber says.\u003c/p>\n\u003cfigure id=\"attachment_10141803\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/earlyvideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/earlyvideo.jpg\" alt='Early video gear; Source: <a href=\"http://waxinandmilkin.com/post/90847836/vr-3000-portable-quadruplex-vtr-by-ampex-1967\">waxin and milkin</a>' width=\"640\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/earlyvideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/earlyvideo-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/earlyvideo-300x227.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early video gear; Source: \u003ca href=\"http://waxinandmilkin.com/post/90847836/vr-3000-portable-quadruplex-vtr-by-ampex-1967\">waxin and milkin\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Here another leap must be taken. Imagine the very first “portable” consumer video equipment. Weber describes it as “still bulky. You have a camera, then you had a portapack that had wires to it and then you had a battery pack. So it was not like a ‘go to the beach’ situation. It was seriously heavy, complicated, white balancing… Stuff going wrong. Batteries lasting like maybe 45 minutes, primarily 3/4”.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They had just started making 1/2″ equipment at that time. One of the things that prompted Martin-Weber Gallery was that I had made some money drug dealing and working at night clubs and John had some money from his parents and from some other weird hustles I don’t really recall the details of, and we bought the first Panasonic 1/2″ video editing system in the Bay Area. Literally, nobody had one of these. So we got a space South of Market and we really wanted to be the super cool punk new wave art gallery, which we were. But we also had this amazing 1/2″ editing system, and John had a great Panasonic video camera — not a lot of people had video cameras — and we were the only ones working with 1/2” video.\u003c/p>\n\u003cp>“We did fashion shoots for Macy’s and made thousands of dollars. We did lots of private jobs and we were also making art. We were making so much money renting out this system that we just let some community service organizations use the equipment for free — like the teen pregnancy program at SF General, for instance.” Weber says this was a natural extension of the duo’s interest not only in art, but in social action. “We both had political affiliations ranging from strident anti-war street activities to community service stuff, which was interesting because we were kind of complete fuck-ups.”\u003c/p>\n\u003cp>And again, the time tunnel has taken us back to San Francisco in the early 1980s. Dianne Feinstein is mayor. The Embarcadero Freeway is still standing. The AIDS crisis has just hit the city hard. You can see punk bands at venues all over town. In fact, there was a whole different kind of energy permeating the city. Weber says, “The punk ethos of being against institutions was very strong. It wasn’t a quiet, considerate, cooperative scene… There was an anti-conformity vibe and people thought the corporate organization of culture was a bummer.”\u003c/p>\n\u003cfigure id=\"attachment_10141804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/landlord.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/landlord.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/landlord.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/landlord-400x427.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/landlord-280x300.jpg 280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>Turns out “access” has always been the key to ATA’s name and its success. A lot of ATA’s early alliances didn’t necessarily come about proactively from Weber or Martin or any of the skeleton staff at the gallery, they came from the generosity of the surrounding communities.\u003c/p>\n\u003cp>When they started their gallery, Weber and Martin thought they were on their own. “We didn’t think there would be anyone else to help us except the community we would form or the allegiances we would make,” Weber says. “Most of those allegiances were not in academia and they were not in the mainstream art world. They were with Galeria de la Raza. They were with political organizations, and our community opened up and we attracted people because ATA was both a scene and the place where you could walk in and have a show a month later. So many artists who are doing really well now just walked in our door and we said, ‘show us what you’ve got.'”\u003c/p>\n\u003cp>Artists’ Television Access turned into something of a misnomer; on any given night you could see performance, poetry, video, you name it. Weber also managed a year-round visual art exhibition program.\u003c/p>\n\u003cp>“One of the reasons why ATA survived is that we lived there; it was an artist studio. It was run by artists and when the corporation was formed, I had what, in retrospect, now seems like a brilliant idea: You could actually legally construct the corporate culture of an organization via its by-laws, which is like ‘duh.’ We had a by-law in ATA’s corporate charter that stated the board had to always be half artists. Over the decades this prevented the corporate takeover of ATA and secured the ATA culture.\u003c/p>\n\u003cp>“I think the culture remains pretty much the same as it was at the beginning. It’s kind of shifted from the new wave punk thing into a multi-cultural crusty queer thing, but it still maintains itself as basically an organization for emerging artists and for artists who are working outside the commercial art world.\u003c/p>\n\u003cfigure id=\"attachment_10141805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/haynesschwartz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/haynesschwartz.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/haynesschwartz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/haynesschwartz-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/haynesschwartz-207x300.jpg 207w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>“And for media that was really kinda crucial. Video art, for instance, really got bombed by music television and then appropriated by bourgeois museum people. Where it was once immediate, emotional, creative, and random, it became either a dumb music video thing or some giant, extravagant, we need to spend a million dollars, Bill Viola blah-blah-blah something for museums. It was interesting to see how one end — the commercial field — commodified video art and the other end — the museum world — commodified video art. And I think there weren’t a lot of places in between.\u003c/p>\n\u003cp>“Similarly, almost as fast as the alternative world of video reportage rose, the media learned how to shut it out. So you had a very interesting underground circuit of news stuff and then you had a very underground circuit of alternative music video and then you had the art that just wasn’t fitting in anywhere, and it was very similar to the circuit that experimental film formed — there were houses around the country and it was almost completely isolated from any other cultural exchange. It had its own audience. It had its own funders. It got some of the crumbs from the institutional world. It got crumbs from the commercial world.\u003c/p>\n\u003cp>“And ATA benefited from those crumbs. It was a horizontal organization. It didn’t have to worry about expanding and it didn’t have to worry about moving up the ladder of the art world, which we all hated just on principle even back then. In the early 1980s it was kind of already obvious where the art world was going.\u003c/p>\n\u003cp>“We were there for this amazing opportunity that gave us the ability to find a niche and then expand from there,” Weber says. ATA and the artists who worked and played there helped to define what an art video looked like.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/angelinmorning.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10141806\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/angelinmorning.jpg\" alt=\"angelinmorning\" width=\"640\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/angelinmorning.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/angelinmorning-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/angelinmorning-300x194.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>The secret sauce for ATA was that it became a “horizontal equalizer” for any artist from any background in the city of San Francisco. You had access to ATA. There were no filters. There was a lot of volunteerism and a great activist board. And there were hundreds of shows a year.\u003c/p>\n\u003cp>“From 1986 on, Craig Baldwin’s Other Cinema was located in ATA,” Weber says. “It was still a discreet organization, still discreet programming, but Other Cinema deeply affected ATA. Craig always had a show on Saturday nights. Period. That was his model. If you thought you couldn’t do something… you looked at Craig and you realized you had no excuse for not getting it done.\u003c/p>\n\u003cp>“And then there’s also that idea of access. Again, the punk idea of anyone can do it — not to be confused with do-it-yourself, which is a bourgeois corruption of punk. Punk was about anyone can do it and we’ll help you do it. It wasn’t about do it yourself; it was do it with us — connecting people up. So the culture of ATA remained pretty stable, but not stagnant because different kinds of content and different communities moved in and out of the space.”\u003c/p>\n\u003cfigure id=\"attachment_10141807\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/rigo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141807\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/rigo.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/rigo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/rigo-400x623.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/rigo-192x300.jpg 192w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>Another of ATA’s secrets is that it actually integrated with the local communities — certainly with the Latino and queer communities, parts of the Asian community and to a lesser extent the African American community.\u003c/p>\n\u003cp>“One reason why you saw people from so-called, poorly named, marginalized communities or ethnic communities take up video was because they never got any coverage from the media,” says Weber. “So when alternative means of reporting came up, there already was a really strong culture of agitprop and reportage in the Latino community. The whole silk screen poster movement… I mean the mural movement was once a billboard movement meant to popularize social and political groups. The basis for all these cultures, when you look at what Siqueiros and Rivera were doing, their murals were the history of the socialist alternative to the capitalist takeover. It was educational. You saw a lot of these communities move into video because it was an extension of the broadside, the mural and the silkscreen print. There was a creative culture that didn’t see the difference between culture and news, and understood that the mainstream news was never gonna cover anything they were doing and was certainly not going to serve the communities they were in. They adopted video so they could communicate more effectively within their own communities and form solidarity networks.”\u003c/p>\n\u003cp>This combination meant that the audience at ATA was always expanding. While there is a core ATA audience that is interested in discovery and open to checking out new things, this strong connection to multiple communities has also assured the organization’s survival.\u003c/p>\n\u003cp>Weber says, “It seemed like we had one big loyal audience, when in fact we had a lot of different audiences that the artists brought along with them. There’s always an audience for something.\u003c/p>\n\u003cp>“You could walk in the door and not feel like you were stupid, or not feel like you weren’t rich enough to be there. The whole commodification of the art world and the whole intellectualization of — film, especially — kind of killed the audience. The audience doesn’t want to feel like they’re dumb or they’re not rich enough or they’re not cool enough. And as elitist and fucked up and snobby as John Martin and I may have personally been, with the help of other people I think we formed a welcoming organization.\u003c/p>\n\u003cfigure id=\"attachment_10141808\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lets.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141808\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lets.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lets.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lets-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lets-202x300.jpg 202w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad ran a jewelry store his whole life, and I worked in it from the time I was a little kid. The one thing that he always drove home was that you have to treat everyone who comes in the door the same. It doesn’t matter who they are. That was something I always thought about with ATA. It’s like a culture shop; it’s just a store. It’s not some grand pretentious bullshit.”\u003c/p>\n\u003cp>Finally, what Weber remembers most about his time with ATA — he lived there until 1991 — is how “there was no trade-off. At the time, I was involved in this very diverse, extremely creative, extremely politically committed community that had lots of ethical integrity. The work was amazing.”\u003c/p>\n\u003cp>He thinks that the reason why ATA endures is that it still has the same welcoming vibe and strong connection to diverse and active communities. At 21st Street and Valencia, the heart of a radically contested neighborhood, ATA also has some pretty great real estate juju. Knock wood. No jinx.\u003c/p>\n\u003cfigure id=\"attachment_10141809\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/flatlands.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141809\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/flatlands.jpg\" alt=\"Still from <i>Flatlands</i>\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/flatlands.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/flatlands-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/flatlands-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Flatlands\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>So, what’s this \u003ci>Flatlands\u003c/i> video he will be showing in prime time (8pm) on Friday night?\u003c/p>\n\u003cp>Weber says, “\u003ci>Flatlands\u003c/i> is one of my favorite artworks. I made it in ’83-’84. I wanted to make an epic stereo video piece. It is very much an homage to Warhol’s \u003ci>Chelsea Girls\u003c/i>, but it is also a pretty sincere exploration of dyslexia and the relationship of creativity to cognition. It is a real synthesis of everything I had learned and done in the decade before. I have slight dyslexia and my brother has severe dyslexia, and I was always really interested in why some people think this way and other people think that way. What social constraints does language place on creativity? So many hot topic items are in \u003ci>Flatlands\u003c/i>, like health care, cognitive neurology, dyslexia, creativity — and it’s super psychedelic.\u003c/p>\n\u003cp>“The stereo video includes all of these random factors. You have two screens and every time you play the piece, it’s never the same. We are actually playing the piece on the vintage 30-year-old video cassettes. The whole feeling of it is… if you didn’t live through that era, you will not understand what the hell is going on — the textures of the video, the language, even the way people are talking and the acting styles. Every scene is written based on either a dialogue or a poem. It pretty much hangs together, but is hard to explain. This will be a charmingly alien experience for anyone born after 1990. But for anyone born before, it will be a rare chance to see what punk new wave videography was.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>ATA celebrates its 30th Birthday with a 30-hour video marathon starting Friday, September 5 at 1pm. For more information, see \u003ca href=\"http://ww2.kqed.org/events/pick/artists-television-access-30-hour-marathon/\" target=\"_blank\" rel=\"noopener\">our event page\u003c/a>, or visit atasite.org for a \u003ca href=\"http://www.atasite.org/2014/09/30-hour-marathon-screening/\">full schedule\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Artists' Television Access (ATA) is celebrating its birthday this Friday, September 5, with a 30-hour video marathon, one hour for every year of its existence. Marshall Weber, one of the evil geniuses who founded ATA in the early 1980s, tells how the glorious mutant organization that survives today came to be.",
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"description": "Artists' Television Access (ATA) is celebrating its birthday this Friday, September 5, with a 30-hour video marathon, one hour for every year of its existence. Marshall Weber, one of the evil geniuses who founded ATA in the early 1980s, tells how the glorious mutant organization that survives today came to be.",
"title": "It Lives: Artists' Television Access Turns Thirty | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10141801\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/postfireposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/postfireposter-400x636.jpg\" alt=\"A poster for the benefit event to revive ATA after a fire destroyed the gallery's original location.\" width=\"400\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/postfireposter-400x636.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/postfireposter-188x300.jpg 188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/postfireposter.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A poster for the benefit event to revive ATA after a fire destroyed the gallery’s original location.\u003c/figcaption>\u003c/figure>\n\u003cp>Artists’ Television Access (ATA) is celebrating its birthday this Friday, September 5, with a 30-hour video marathon, one hour for every year of its existence. Wait. What? ATA has been around for 30 years? How did that happen? What pulsating nuclear death ray, what glowing green industrial slime spawned such a hardy creature? Marshall Weber, the evil genius who founded ATA (with John Martin) in the early 1980s just happens to be in town and will be showing \u003ci>Flatlands\u003c/i>, his 130-minute video masterwork as part of the marathon, which starts at 1pm on Friday, ends Saturday evening at 7pm and will be followed by a celebratory party. I asked Weber to recount ATA’s origin story.\u003c/p>\n\u003cp>In order to understand how an organization with such an unlikely moniker — Artists’ \u003ci>Television\u003c/i> ACCESS — arose, you have to step into a time tunnel, throw away your cell phone, dismantle your computer and forget the ubiquity of modern video. You have to imagine, if you will, a time before portable video cameras, non-linear video editing and YouTube. The year is 1980 and a young Marshall Weber drives cross country from New York in a ’65 Mustang to attend graduate school at the San Francisco Art Institute, where he studies performance and video — and meets John Martin.\u003c/p>\n\u003cfigure id=\"attachment_10141802\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/marshallweber.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141802\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/marshallweber.jpg\" alt=\"Marshall Weber circa 1986; Photo by Taryn Fling\" width=\"640\" height=\"882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/marshallweber.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/marshallweber-400x551.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/marshallweber-217x300.jpg 217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marshall Weber circa 1986; Photo by Taryn Fling\u003c/figcaption>\u003c/figure>\n\u003cp>This is a time before art schools were so corporate; the only people institutionalized there were those professors coasting to retirement. Relationships between students and faculty were unnaturally (by today’s standards) egalitarian and often uncomfortably competitive and confrontational. (We live in a much “smoother” era today.) Weber didn’t much care for most of the teachers he encountered at SFAI, though he was deeply affected by the cultural politics of James Broughton and George Kuchar, both world-famous queer experimental filmmakers who taught at the school for years. “It’s one thing when some straight white man is showing you a film about \u003ca href=\"http://en.wikipedia.org/wiki/Red_Army_Faction\" target=\"_blank\" rel=\"noopener\">Baader-Meinhof\u003c/a>; it’s an entirely different thing when a screaming gay man who is totally involved in the leather scene is teaching you about film history while on LSD,” he notes.\u003c/p>\n\u003cp>Martin dropped out of school and Weber was encouraged to graduate early, so the two decided to open a gallery, which was originally located South of Market and named Martin-Weber. The whole ATA enterprise really began around equipment. “We thought there should be an art gallery that focused on technology and the focus should be on getting artists access to this incredible tech that was obviously going to blow up. It’s ridiculous now to think that this ‘access’ was to one camera, one video editing system and a couple of monitors. The pretension is kind of fabulous, but it was sincere,” Weber says.\u003c/p>\n\u003cfigure id=\"attachment_10141803\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/earlyvideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/earlyvideo.jpg\" alt='Early video gear; Source: <a href=\"http://waxinandmilkin.com/post/90847836/vr-3000-portable-quadruplex-vtr-by-ampex-1967\">waxin and milkin</a>' width=\"640\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/earlyvideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/earlyvideo-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/earlyvideo-300x227.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early video gear; Source: \u003ca href=\"http://waxinandmilkin.com/post/90847836/vr-3000-portable-quadruplex-vtr-by-ampex-1967\">waxin and milkin\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Here another leap must be taken. Imagine the very first “portable” consumer video equipment. Weber describes it as “still bulky. You have a camera, then you had a portapack that had wires to it and then you had a battery pack. So it was not like a ‘go to the beach’ situation. It was seriously heavy, complicated, white balancing… Stuff going wrong. Batteries lasting like maybe 45 minutes, primarily 3/4”.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They had just started making 1/2″ equipment at that time. One of the things that prompted Martin-Weber Gallery was that I had made some money drug dealing and working at night clubs and John had some money from his parents and from some other weird hustles I don’t really recall the details of, and we bought the first Panasonic 1/2″ video editing system in the Bay Area. Literally, nobody had one of these. So we got a space South of Market and we really wanted to be the super cool punk new wave art gallery, which we were. But we also had this amazing 1/2″ editing system, and John had a great Panasonic video camera — not a lot of people had video cameras — and we were the only ones working with 1/2” video.\u003c/p>\n\u003cp>“We did fashion shoots for Macy’s and made thousands of dollars. We did lots of private jobs and we were also making art. We were making so much money renting out this system that we just let some community service organizations use the equipment for free — like the teen pregnancy program at SF General, for instance.” Weber says this was a natural extension of the duo’s interest not only in art, but in social action. “We both had political affiliations ranging from strident anti-war street activities to community service stuff, which was interesting because we were kind of complete fuck-ups.”\u003c/p>\n\u003cp>And again, the time tunnel has taken us back to San Francisco in the early 1980s. Dianne Feinstein is mayor. The Embarcadero Freeway is still standing. The AIDS crisis has just hit the city hard. You can see punk bands at venues all over town. In fact, there was a whole different kind of energy permeating the city. Weber says, “The punk ethos of being against institutions was very strong. It wasn’t a quiet, considerate, cooperative scene… There was an anti-conformity vibe and people thought the corporate organization of culture was a bummer.”\u003c/p>\n\u003cfigure id=\"attachment_10141804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/landlord.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/landlord.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/landlord.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/landlord-400x427.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/landlord-280x300.jpg 280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>Turns out “access” has always been the key to ATA’s name and its success. A lot of ATA’s early alliances didn’t necessarily come about proactively from Weber or Martin or any of the skeleton staff at the gallery, they came from the generosity of the surrounding communities.\u003c/p>\n\u003cp>When they started their gallery, Weber and Martin thought they were on their own. “We didn’t think there would be anyone else to help us except the community we would form or the allegiances we would make,” Weber says. “Most of those allegiances were not in academia and they were not in the mainstream art world. They were with Galeria de la Raza. They were with political organizations, and our community opened up and we attracted people because ATA was both a scene and the place where you could walk in and have a show a month later. So many artists who are doing really well now just walked in our door and we said, ‘show us what you’ve got.'”\u003c/p>\n\u003cp>Artists’ Television Access turned into something of a misnomer; on any given night you could see performance, poetry, video, you name it. Weber also managed a year-round visual art exhibition program.\u003c/p>\n\u003cp>“One of the reasons why ATA survived is that we lived there; it was an artist studio. It was run by artists and when the corporation was formed, I had what, in retrospect, now seems like a brilliant idea: You could actually legally construct the corporate culture of an organization via its by-laws, which is like ‘duh.’ We had a by-law in ATA’s corporate charter that stated the board had to always be half artists. Over the decades this prevented the corporate takeover of ATA and secured the ATA culture.\u003c/p>\n\u003cp>“I think the culture remains pretty much the same as it was at the beginning. It’s kind of shifted from the new wave punk thing into a multi-cultural crusty queer thing, but it still maintains itself as basically an organization for emerging artists and for artists who are working outside the commercial art world.\u003c/p>\n\u003cfigure id=\"attachment_10141805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/haynesschwartz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/haynesschwartz.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/haynesschwartz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/haynesschwartz-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/haynesschwartz-207x300.jpg 207w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>“And for media that was really kinda crucial. Video art, for instance, really got bombed by music television and then appropriated by bourgeois museum people. Where it was once immediate, emotional, creative, and random, it became either a dumb music video thing or some giant, extravagant, we need to spend a million dollars, Bill Viola blah-blah-blah something for museums. It was interesting to see how one end — the commercial field — commodified video art and the other end — the museum world — commodified video art. And I think there weren’t a lot of places in between.\u003c/p>\n\u003cp>“Similarly, almost as fast as the alternative world of video reportage rose, the media learned how to shut it out. So you had a very interesting underground circuit of news stuff and then you had a very underground circuit of alternative music video and then you had the art that just wasn’t fitting in anywhere, and it was very similar to the circuit that experimental film formed — there were houses around the country and it was almost completely isolated from any other cultural exchange. It had its own audience. It had its own funders. It got some of the crumbs from the institutional world. It got crumbs from the commercial world.\u003c/p>\n\u003cp>“And ATA benefited from those crumbs. It was a horizontal organization. It didn’t have to worry about expanding and it didn’t have to worry about moving up the ladder of the art world, which we all hated just on principle even back then. In the early 1980s it was kind of already obvious where the art world was going.\u003c/p>\n\u003cp>“We were there for this amazing opportunity that gave us the ability to find a niche and then expand from there,” Weber says. ATA and the artists who worked and played there helped to define what an art video looked like.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/angelinmorning.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10141806\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/angelinmorning.jpg\" alt=\"angelinmorning\" width=\"640\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/angelinmorning.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/angelinmorning-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/angelinmorning-300x194.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>The secret sauce for ATA was that it became a “horizontal equalizer” for any artist from any background in the city of San Francisco. You had access to ATA. There were no filters. There was a lot of volunteerism and a great activist board. And there were hundreds of shows a year.\u003c/p>\n\u003cp>“From 1986 on, Craig Baldwin’s Other Cinema was located in ATA,” Weber says. “It was still a discreet organization, still discreet programming, but Other Cinema deeply affected ATA. Craig always had a show on Saturday nights. Period. That was his model. If you thought you couldn’t do something… you looked at Craig and you realized you had no excuse for not getting it done.\u003c/p>\n\u003cp>“And then there’s also that idea of access. Again, the punk idea of anyone can do it — not to be confused with do-it-yourself, which is a bourgeois corruption of punk. Punk was about anyone can do it and we’ll help you do it. It wasn’t about do it yourself; it was do it with us — connecting people up. So the culture of ATA remained pretty stable, but not stagnant because different kinds of content and different communities moved in and out of the space.”\u003c/p>\n\u003cfigure id=\"attachment_10141807\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/rigo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141807\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/rigo.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/rigo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/rigo-400x623.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/rigo-192x300.jpg 192w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>Another of ATA’s secrets is that it actually integrated with the local communities — certainly with the Latino and queer communities, parts of the Asian community and to a lesser extent the African American community.\u003c/p>\n\u003cp>“One reason why you saw people from so-called, poorly named, marginalized communities or ethnic communities take up video was because they never got any coverage from the media,” says Weber. “So when alternative means of reporting came up, there already was a really strong culture of agitprop and reportage in the Latino community. The whole silk screen poster movement… I mean the mural movement was once a billboard movement meant to popularize social and political groups. The basis for all these cultures, when you look at what Siqueiros and Rivera were doing, their murals were the history of the socialist alternative to the capitalist takeover. It was educational. You saw a lot of these communities move into video because it was an extension of the broadside, the mural and the silkscreen print. There was a creative culture that didn’t see the difference between culture and news, and understood that the mainstream news was never gonna cover anything they were doing and was certainly not going to serve the communities they were in. They adopted video so they could communicate more effectively within their own communities and form solidarity networks.”\u003c/p>\n\u003cp>This combination meant that the audience at ATA was always expanding. While there is a core ATA audience that is interested in discovery and open to checking out new things, this strong connection to multiple communities has also assured the organization’s survival.\u003c/p>\n\u003cp>Weber says, “It seemed like we had one big loyal audience, when in fact we had a lot of different audiences that the artists brought along with them. There’s always an audience for something.\u003c/p>\n\u003cp>“You could walk in the door and not feel like you were stupid, or not feel like you weren’t rich enough to be there. The whole commodification of the art world and the whole intellectualization of — film, especially — kind of killed the audience. The audience doesn’t want to feel like they’re dumb or they’re not rich enough or they’re not cool enough. And as elitist and fucked up and snobby as John Martin and I may have personally been, with the help of other people I think we formed a welcoming organization.\u003c/p>\n\u003cfigure id=\"attachment_10141808\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lets.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141808\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lets.jpg\" alt=\"Early ATA poster; Courtesy Marshall Weber\" width=\"640\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lets.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lets-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lets-202x300.jpg 202w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early ATA poster; Courtesy Marshall Weber\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad ran a jewelry store his whole life, and I worked in it from the time I was a little kid. The one thing that he always drove home was that you have to treat everyone who comes in the door the same. It doesn’t matter who they are. That was something I always thought about with ATA. It’s like a culture shop; it’s just a store. It’s not some grand pretentious bullshit.”\u003c/p>\n\u003cp>Finally, what Weber remembers most about his time with ATA — he lived there until 1991 — is how “there was no trade-off. At the time, I was involved in this very diverse, extremely creative, extremely politically committed community that had lots of ethical integrity. The work was amazing.”\u003c/p>\n\u003cp>He thinks that the reason why ATA endures is that it still has the same welcoming vibe and strong connection to diverse and active communities. At 21st Street and Valencia, the heart of a radically contested neighborhood, ATA also has some pretty great real estate juju. Knock wood. No jinx.\u003c/p>\n\u003cfigure id=\"attachment_10141809\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/flatlands.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141809\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/flatlands.jpg\" alt=\"Still from <i>Flatlands</i>\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/flatlands.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/flatlands-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/flatlands-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Flatlands\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>So, what’s this \u003ci>Flatlands\u003c/i> video he will be showing in prime time (8pm) on Friday night?\u003c/p>\n\u003cp>Weber says, “\u003ci>Flatlands\u003c/i> is one of my favorite artworks. I made it in ’83-’84. I wanted to make an epic stereo video piece. It is very much an homage to Warhol’s \u003ci>Chelsea Girls\u003c/i>, but it is also a pretty sincere exploration of dyslexia and the relationship of creativity to cognition. It is a real synthesis of everything I had learned and done in the decade before. I have slight dyslexia and my brother has severe dyslexia, and I was always really interested in why some people think this way and other people think that way. What social constraints does language place on creativity? So many hot topic items are in \u003ci>Flatlands\u003c/i>, like health care, cognitive neurology, dyslexia, creativity — and it’s super psychedelic.\u003c/p>\n\u003cp>“The stereo video includes all of these random factors. You have two screens and every time you play the piece, it’s never the same. We are actually playing the piece on the vintage 30-year-old video cassettes. The whole feeling of it is… if you didn’t live through that era, you will not understand what the hell is going on — the textures of the video, the language, even the way people are talking and the acting styles. Every scene is written based on either a dialogue or a poem. It pretty much hangs together, but is hard to explain. This will be a charmingly alien experience for anyone born after 1990. But for anyone born before, it will be a rare chance to see what punk new wave videography was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ATA celebrates its 30th Birthday with a 30-hour video marathon starting Friday, September 5 at 1pm. For more information, see \u003ca href=\"http://ww2.kqed.org/events/pick/artists-television-access-30-hour-marathon/\" target=\"_blank\" rel=\"noopener\">our event page\u003c/a>, or visit atasite.org for a \u003ca href=\"http://www.atasite.org/2014/09/30-hour-marathon-screening/\">full schedule\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'The Little Rascals' Reunite 20 Years Later, Recreate Scenes from the Movie",
"title": "'The Little Rascals' Reunite 20 Years Later, Recreate Scenes from the Movie",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_13366\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13366\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o.jpg\" alt=\"the little rascals reunion\" width=\"640\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o.jpg 1227w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o-400x312.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o-800x624.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cp>Considering that almost the entire internet is nostalgia content, you'd think we would be used to the feeling now, that it would have lost the power to make us ache for our childhoods. Yet, every time some beloved TV show or movie has \u003ca href=\"http://blogs.kqed.org/pop/2014/04/30/10-years-of-mean-girls-the-5-best-ways-the-internet-is-celebrating/\">an anniversary\u003c/a> or \u003ca href=\"http://blogs.kqed.org/pop/2014/08/28/friends-reunion-finally-happened-minus-the-boys/\">reunion\u003c/a> or \u003ca href=\"http://blogs.kqed.org/pop/2013/11/04/full-house-sequel-just-a-hoax-survive-the-disappointment-with-these-animated-gifs/\">rumored spin-off\u003c/a>, that painful pang for days gone by pops up again. Brace yourself because the cast of \u003cem>The Little Rascals\u003c/em> didn't leave it at just a reunion photo; they also recreated the poster of 1994 classic and iconic scenes from the movie. Check some of them out below and try not to get caught up in a daydream about devouring Dunkaroos, while trading pogs, keeping your Tamagotchi pet alive and beating your high score on your Skip-It.\u003c/p>\n\u003cfigure id=\"attachment_13367\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13367\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"656\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n.png 919w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n-400x410.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n-800x820.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n-32x32.png 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13369\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13369\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"740\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n.png 808w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n-400x462.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n-800x924.png 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13371\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13371\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"635\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n.png 937w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-400x397.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-800x794.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-75x75.png 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13370\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13370\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10614284_580907838684445_2026037914317183091_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"859\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10614284_580907838684445_2026037914317183091_n.png 698w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10614284_580907838684445_2026037914317183091_n-400x536.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13366\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13366\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o.jpg\" alt=\"the little rascals reunion\" width=\"640\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o.jpg 1227w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o-400x312.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10658803_580936815348214_7039731309378906374_o-800x624.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cp>Considering that almost the entire internet is nostalgia content, you'd think we would be used to the feeling now, that it would have lost the power to make us ache for our childhoods. Yet, every time some beloved TV show or movie has \u003ca href=\"http://blogs.kqed.org/pop/2014/04/30/10-years-of-mean-girls-the-5-best-ways-the-internet-is-celebrating/\">an anniversary\u003c/a> or \u003ca href=\"http://blogs.kqed.org/pop/2014/08/28/friends-reunion-finally-happened-minus-the-boys/\">reunion\u003c/a> or \u003ca href=\"http://blogs.kqed.org/pop/2013/11/04/full-house-sequel-just-a-hoax-survive-the-disappointment-with-these-animated-gifs/\">rumored spin-off\u003c/a>, that painful pang for days gone by pops up again. Brace yourself because the cast of \u003cem>The Little Rascals\u003c/em> didn't leave it at just a reunion photo; they also recreated the poster of 1994 classic and iconic scenes from the movie. Check some of them out below and try not to get caught up in a daydream about devouring Dunkaroos, while trading pogs, keeping your Tamagotchi pet alive and beating your high score on your Skip-It.\u003c/p>\n\u003cfigure id=\"attachment_13367\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13367\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"656\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n.png 919w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n-400x410.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n-800x820.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10626841_580907825351113_4659558289991599488_n-32x32.png 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13369\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13369\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"740\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n.png 808w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n-400x462.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10660324_580907835351112_4315678528204317803_n-800x924.png 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13371\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13371\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"635\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n.png 937w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-400x397.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-800x794.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10569016_580907885351107_6739820517287182254_n-75x75.png 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13370\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-13370\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/10614284_580907838684445_2026037914317183091_n.png\" alt=\"Photo: 22 Vision, via Facebook\" width=\"640\" height=\"859\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/10614284_580907838684445_2026037914317183091_n.png 698w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/10614284_580907838684445_2026037914317183091_n-400x536.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/22Vision/timeline\">22 Vision\u003c/a>, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Crazy Story Behind Dock Ellis' LSD-Fueled No-Hitter",
"headTitle": "The Crazy Story Behind Dock Ellis’ LSD-Fueled No-Hitter | 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/events/pick/no-no-a-dockumentary/all/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘No No: A Dockumentary’\u003c/h4>\n\u003cdiv class=\"event-desc\">Exploration of Dock Ellis’ acid-assisted achievement.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 5-11, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Roxie Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/no-no-a-dockumentary/all/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s a tale that will forever enjoy top billing in the Crazy Baseball Stories Hall of Fame: the night in 1970 that Dock Ellis, pitcher for the Pittsburgh Pirates, threw a no-hitter while tripping on LSD.\u003c/p>\n\u003cp>The subject of Ellis’ astounding miracle—let’s face it, most of us couldn’t even program a DVR on acid, let alone shut down 27 batters in a row—has already been fodder for a \u003ca href=\"https://www.youtube.com/watch?v=006i_UxLJjM\" target=\"_blank\" rel=\"noopener\">Barbara Manning song by the SF Seals\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=_vUhSYLRw14\" target=\"_blank\" rel=\"noopener\">a widely shared, highly amusing animated short\u003c/a> set to Ellis’ own retelling of the game.\u003c/p>\n\u003cp>Now, a feature-length documentary opening this week at the Roxie Theater weaves Ellis’ personal demons into the historical context of that legendary evening. \u003cem>No No: A Dockumentary\u003c/em> delivers the goods from the start, offering actual footage of the game itself, and through archival clips and interviews with teammates and family, the film criss-crosses the inherent humor of Ellis’ psychedelic achievement with the challenges the headstrong hurler faced in the major leagues. (Lesser hailed than his lysergic-fueled pitching feat is the fascinating battle that Ellis fought with management over \u003ca href=\"http://www.nuvo.net/binary/b3a5/1394648909-no-no-2.jpg\" target=\"_blank\" rel=\"noopener\">playing on-field with curlers in his hair\u003c/a>.) Also raised is the lingering question of if Ellis truly was on acid—reporters who were at the game don’t think so—or if Ellis’ claim was simply an outgrowth of his oversized personality.\u003c/p>\n\u003cp>With a score by the Beastie Boys’ Adam Horowitz and a serious look at Ellis’ life before and after that cosmic June night in San Diego, \u003cem>No No: A Dockumentary\u003c/em> is a defining film of a baseball legend, and one that’ll surely elevate Dock Ellis as an American folk hero.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Dream But Don't Sleep: Remembering Mike 'Dream' Francisco",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDp38sltic8\u003c/p>\n\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even Harshaw says he was surprised at the depth of Dream’s story.\u003c/p>\n\u003cp>“When I started, I thought I was gonna tell a story that bumped up against how police couldn’t control certain aspects of graffiti, or how there’s no art in schools,” Harshaw says. “I ended up having a documentary that really questions, ‘What is art?’ That’s an urban philosophical debate, of sorts, but with Dream and TDK, their story, there’s so many layers of it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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