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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Heavy Metal rock star, a testosterone-flaunting, guitar thrusting, decibel-amplifying peacock, is a sight ripe for ridicule. Bravado and idiocy in unison can be a ludicrous combo to behold. See: \u003ca href=\"http://www.imdb.com/title/tt0088258/combined/\">\u003cb>Spinal Tap\u003c/b>\u003c/a>, which masterfully captures the Metal milieu.\u003c/p>\n\u003cp>\u003ca href=\"http://www.liveevilrocks.com/\">\u003cb>Live Evil: Heavy Metal Playground\u003c/b>\u003c/a>, offers up similar terrain — but from the confessional first-person voice of merciless self-mockery. A legend in his own mind, Laurent Martini had plans to conquer the world with his virility and awesomeness. It’s the dream, no doubt, of many an adolescent boy growing up in the heyday of Motley Crue. But Laurent, impossibly nerdy despite his French extraction, continues to dream the dream all the way into adulthood.\u003c/p>\n\u003cp>With a blitz of original, dreadful songs, Martini invites his audience to laugh in his face as he chronicles his pursuit of sex, drugs and hard rock stardom.\u003c/p>\n\u003cp>The show, at the intimate NOHspace Theater, is a play-length spin-off of the \u003ca href=\"http://www.getmortified.com/\">\u003cb>Mortified\u003c/b>\u003c/a> franchise, a monthly mixture of stand-up comedy and reality-based spoken word performance. At its core, it is a reading series of the personal writings of former adolescents. Recalling their misguided youth, brave adults read verbatim from their high school diaries, poetry and letters, revealing the innermost thoughts and desires to a crowd who is both laughing with them and laughing at them.\u003c/p>\n\u003cp>Such is the M.O. of \u003cb>Live Evil\u003c/b>. The show’s biggest problem is that, like the dream of Hard Rock fame and fortune, this play goes on far too long. \u003cb>Mortified\u003c/b> is a smorgasbord of cringe-worthy storylines and soloists; each event features a variety of performers, sharing their own special corner of adolescent intensity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cb>Live Evil\u003c/b> (which is the name of Laurent’s never actually formed band) is a funny sketch that has no place being a 90-minute play. To some extent, the monologue is successfully fleshed out with a handful of appealingly silly characters — most notably the 7-year old Laurent — a beret-wearing French stereotype, played by Max Hartman. Hartman continues to play this creepy overgrown baby — with kiddie short pants and lollipop — until he is a sex-crazed teenager. \u003c/p>\n\u003cp>Also amusing — to a point — is Martini’s sober account of his utter lameness. Wearing a beige cardigan and slacks, the staid 32-year-old embodies the incongruity of his inadequate former self and his bitchin’ self-image.\u003c/p>\n\u003cp>The monologue is sprinkled with music — \u003cb>Live Evil\u003c/b> wrote over 100 songs and Laurent sings them (unplugged and solo) (with a guitar he never learned to play) as the lyrics display on the back screen. Some of these include: “F- My Way Across This Great Land,” “Back Off Bitch” and other songs a young rocker might think capture the macho misogyny of likeminded groups like AC/DC, Def Leopard and Metallica. One should note that Laurent remained a virgin for way too long.\u003c/p>\n\u003cp>All of this is fairly funny to a point — maybe until intermission. But the show is made still longer by Martini’s tale of his first love and marriage to the bossy, flagrantly unfaithful Missy (Sara Faith Alterman) who whips her husband into Metal-free submission.\u003c/p>\n\u003cp>So ultimately, what should be an endearing recollection of a meek boy’s attempt to model himself after A-holes, a nice guy’s invitation to listen to him make fun of himself, becomes a redemptive story of a cuckolded shmuck who finds his badass self by vanquishing this ball-busting bitch.\u003c/p>\n\u003cp>Which kinda swerves away from mortification.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Live Evil: Heavy Metal Playground\u003c/b> runs through January 29, 2011 at NOHspace theater, 2840 Mariposa Street, (between Florida and Alabama Streets) in San Francisco. For \u003ca href=\"http://www.liveevilrocks.com/\"> tickets and information\u003c/a>visit liveevilrocks.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'5000 Fingers' Sings Again: A Seuss Rarity Revisited",
"headTitle": "‘5000 Fingers’ Sings Again: A Seuss Rarity Revisited | KQED",
"content": "\u003cp>Not many people know about Dr. Seuss’ only film, \u003cem>The 5000 Fingers of Dr. T.\u003c/em> The 1953 movie musical was a flop, but thanks to special screenings and cable-TV airings, it’s earned a small but devoted following.\u003c/p>\n\u003cp>Among them: singer Michael Feinstein, who’s such a fan of the movie that he spent the past 30 years gathering every scrap of music ever recorded for it — enough material to fill three CDs. And now, 57 years after its premiere, the definitive soundtrack of this kooky cult classic has finally been released.\u003c/p>\n\u003cp>\u003cem>The 5000 Fingers of Dr. T\u003c/em> is a Technicolor fantasy — mostly the extended dream sequence of a boy who doesn’t want to practice the piano. He imagines a cockeyed castle where his teacher, transformed into the evil Dr. Terwilliker, has hypnotized his mother and taken 500 boys prisoner so they can play music on his 5,000-key piano.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5000-1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>courtesy Columbia Pictures\u003c/p>\n\u003cp>“It’s something that people discover and either love it and have this thing for it, or they just don’t get it,” Feinstein says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the producers of the film wanted to create a significant children’s musical fantasy — a ’50s homage to \u003cem>The Wizard of Oz\u003c/em>, perhaps — but that was no easy goal to achieve. At previews, the filmmakers realized that their movie was too dark for young audiences.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=dgpfMxYFSmE&fs=1&hl=en_US]\u003c/p>\n\u003cp>“It scared the heck out of all the little kids!” says Feinstein.\u003c/p>\n\u003cp>And oh yes, it was … ambitious: Seuss (who wrote the song lyrics) and composer Frederick Hollander had written 16 songs and two ballets for the show.\u003c/p>\n\u003cp>“They ended up cutting half the musical numbers,” Feinstein says.\u003c/p>\n\u003cp>Mary Healy and Peter Lind Hayes, who were married in real life, starred as the hypnotized mother and the plumber who saves her. Actress Cathy Lind Hayes, their daughter, recalls her parents screening the film at home, and lamenting the excisions.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5000-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>courtesy Columbia Pictures\u003c/p>\n\u003cp>“They always said, ‘Oh, we wish we could get a better version — so much has been cut!’ ” she says.\u003c/p>\n\u003cp>Alan Lareau, who’s writing a biography on Hollander, says the German composer — best known for \u003cem>The Blue Angel,\u003c/em> with Marlene Dietrich — is one of the most underappreciated Hollywood composers of the 1930s and 1940s. Out of the work that this prolific musician created for the film, Lareau says that the music for the film’s “Shlim Shlam Ballet” sequence really stands out.\u003c/p>\n\u003cp>“The great highlight of the score is the dungeon ballet, where musicians who do not play the piano have been consigned,” he says. “They burst out of the background in [the] moldy green tatters of their orchestral tuxedos and play us a totally surrealist ballet that’s a montage of different styles, playing delightful Seussian instruments.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5000-3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>courtesy Columbia Pictures\u003c/p>\n\u003cp>It was in this ballet sequence that George Chakiris, who became famous as Bernardo in the film \u003cem>West Side Story,\u003c/em> made his Hollywood debut. It was a lucky break: Chakiris says producers wanted so many male dancers — 60 of them — that auditions were opened to men who were not in the Screen Extras Guild.\u003c/p>\n\u003cp>“So I auditioned, and I got the job and I made enough money to actually join the Guild, as well. So, it was a good thing!” he says.\u003c/p>\n\u003cp>While the movie helped to launch Chakiris’ film career, it was the first and last film project for Seuss. After it flopped — Lareau says Seuss referred to it as “a debaculous fiasco” — he never wrote for the movies again. Seuss didn’t even mention the movie in his memoir.\u003c/p>\n\u003cp>It’s far from forgotten, though. Cathy Lind Hayes attended a screening in Pasadena, Calif., a few years ago, only to discover that the film had a devoted cult following.\u003c/p>\n\u003cp>“I mean, it was like \u003cem>Rocky Horror Picture Show\u003c/em> — they knew all the lines,” she says. “And they were much, much younger than me. I thought, ‘Well isn’t this interesting?’ This tiny little cult.”\u003c/p>\n\u003cp>Feinstein hopes the CD set, which offers a new and improved listening experience, will attract new fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the first official release of the music, and even though some of it doesn’t sound terrific, a lot of it does; it will sound better than it has ever sounded before,” Feinstein says. “It’s a wonderful feeling after nearly three decades to see this thing in existence.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many people know about Dr. Seuss’ only film, \u003cem>The 5000 Fingers of Dr. T.\u003c/em> The 1953 movie musical was a flop, but thanks to special screenings and cable-TV airings, it’s earned a small but devoted following.\u003c/p>\n\u003cp>Among them: singer Michael Feinstein, who’s such a fan of the movie that he spent the past 30 years gathering every scrap of music ever recorded for it — enough material to fill three CDs. And now, 57 years after its premiere, the definitive soundtrack of this kooky cult classic has finally been released.\u003c/p>\n\u003cp>\u003cem>The 5000 Fingers of Dr. T\u003c/em> is a Technicolor fantasy — mostly the extended dream sequence of a boy who doesn’t want to practice the piano. He imagines a cockeyed castle where his teacher, transformed into the evil Dr. Terwilliker, has hypnotized his mother and taken 500 boys prisoner so they can play music on his 5,000-key piano.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5000-1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>courtesy Columbia Pictures\u003c/p>\n\u003cp>“It’s something that people discover and either love it and have this thing for it, or they just don’t get it,” Feinstein says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the producers of the film wanted to create a significant children’s musical fantasy — a ’50s homage to \u003cem>The Wizard of Oz\u003c/em>, perhaps — but that was no easy goal to achieve. At previews, the filmmakers realized that their movie was too dark for young audiences.\u003c/p>\n\u003cp>\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/dgpfMxYFSmE'\n title='//www.youtube.com/embed/dgpfMxYFSmE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It scared the heck out of all the little kids!” says Feinstein.\u003c/p>\n\u003cp>And oh yes, it was … ambitious: Seuss (who wrote the song lyrics) and composer Frederick Hollander had written 16 songs and two ballets for the show.\u003c/p>\n\u003cp>“They ended up cutting half the musical numbers,” Feinstein says.\u003c/p>\n\u003cp>Mary Healy and Peter Lind Hayes, who were married in real life, starred as the hypnotized mother and the plumber who saves her. Actress Cathy Lind Hayes, their daughter, recalls her parents screening the film at home, and lamenting the excisions.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5000-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>courtesy Columbia Pictures\u003c/p>\n\u003cp>“They always said, ‘Oh, we wish we could get a better version — so much has been cut!’ ” she says.\u003c/p>\n\u003cp>Alan Lareau, who’s writing a biography on Hollander, says the German composer — best known for \u003cem>The Blue Angel,\u003c/em> with Marlene Dietrich — is one of the most underappreciated Hollywood composers of the 1930s and 1940s. Out of the work that this prolific musician created for the film, Lareau says that the music for the film’s “Shlim Shlam Ballet” sequence really stands out.\u003c/p>\n\u003cp>“The great highlight of the score is the dungeon ballet, where musicians who do not play the piano have been consigned,” he says. “They burst out of the background in [the] moldy green tatters of their orchestral tuxedos and play us a totally surrealist ballet that’s a montage of different styles, playing delightful Seussian instruments.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/5000-3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>courtesy Columbia Pictures\u003c/p>\n\u003cp>It was in this ballet sequence that George Chakiris, who became famous as Bernardo in the film \u003cem>West Side Story,\u003c/em> made his Hollywood debut. It was a lucky break: Chakiris says producers wanted so many male dancers — 60 of them — that auditions were opened to men who were not in the Screen Extras Guild.\u003c/p>\n\u003cp>“So I auditioned, and I got the job and I made enough money to actually join the Guild, as well. So, it was a good thing!” he says.\u003c/p>\n\u003cp>While the movie helped to launch Chakiris’ film career, it was the first and last film project for Seuss. After it flopped — Lareau says Seuss referred to it as “a debaculous fiasco” — he never wrote for the movies again. Seuss didn’t even mention the movie in his memoir.\u003c/p>\n\u003cp>It’s far from forgotten, though. Cathy Lind Hayes attended a screening in Pasadena, Calif., a few years ago, only to discover that the film had a devoted cult following.\u003c/p>\n\u003cp>“I mean, it was like \u003cem>Rocky Horror Picture Show\u003c/em> — they knew all the lines,” she says. “And they were much, much younger than me. I thought, ‘Well isn’t this interesting?’ This tiny little cult.”\u003c/p>\n\u003cp>Feinstein hopes the CD set, which offers a new and improved listening experience, will attract new fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the first official release of the music, and even though some of it doesn’t sound terrific, a lot of it does; it will sound better than it has ever sounded before,” Feinstein says. “It’s a wonderful feeling after nearly three decades to see this thing in existence.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lost in Japan: The Existential Comedies of Yuya Ishii",
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"content": "\u003cp>It matters that Yuya Ishii is 27 years old not just because he’s put out six films in the past five years, but also because they’re so good. To prove this point, Yerba Buena Center for the Arts screens a pair of recent Ishii efforts this weekend, aptly describing them as “existential comedies.”\u003c/p>\n\u003cp>Not just an impish and sensitive soul, Ishii is a major talent. There is great charm in his goofy sincerity, but also real ambition. You get the sense of a bright young man who grew up in postmodern Japan minding his own business, then one day discovered everything around him to be beautifully preposterous and decided to investigate.\u003c/p>\n\u003cp>Sure, we can talk about plot. In \u003cb>To Walk Beside You\u003c/b>, an orphaned teenager (Ryu Morioka) elopes with his teacher (Maki Meguro), then pretends to be a famous baseball player to impress a kid, also parentless, whom he meets in the library. (Note: There is a famous baseball player named Yuya Ishii.) Later, with strange enthusiasm, a young woman wants him to pick up her beagle’s poo. Meanwhile, and also with strange enthusiasm, his new wife wants him to study law, so she takes a demeaning job in order to support him. Unbeknownst to her and against her wishes, he takes a demeaning job of his own, for which his boss requires, among other things, a dance number. Then he sees his wife’s co-workers tormenting her, and makes an awkward try for revenge. But he winds up befriending one of the tormenters, a young pregnant woman who has run away from home. “Find her and abort that damn baby!” the runaway’s mother tells the cops. There’s more, but why spoil it?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sawako.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Sawako Decides”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The title character in \u003cb>Sawako Decides\u003c/b> goes through jobs and boyfriends like this filmmaker goes through movies, except with much less apparent satisfaction. No one seems to approve of Sawako (Hikari Mistushima), including herself. Presently she returns from Tokyo to her rural hometown, where she must face down her ailing father (Kotaro Shiga) and a cruel clan of clam ladies. (Her father owns a clam-packing business.) What else? The movie begins with the administration of a colonic. It also makes thematic use of elopement and demeaning jobs and a musically demanding boss. In the background, TV news seems always to be reporting on horribly violent domestic disputes. Early on, Sawako says, “I am crying. I didn’t realize it.” Later, she tells a little girl, “Look, you’re nothing special. You’ll just have to tough it out.” But when she says this, her heart is light. It’s an epiphany, a glorious relief.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taken together, \u003cb>To Walk Beside You\u003c/b> and \u003cb>Sawako Decides\u003c/b> make for a double-feature of rare vitality. Each film deals with the absurd but worthy quest for self-actualization in an almost unbearably abashed society. Each has a singular way of working itself up into mystification, curling with glee, and then unpacking itself to discover what it’s really about. And each seems to be searching, scrambling, competing with itself (and perhaps with its predecessors) to become more true. If Yuya Ishii isn’t one to watch, who is?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Lost in Japan: The Existential Comedies of Yuya Ishii\u003c/b> plays Thursday, January 13, through Sunday, January 15, at the Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets, showtimes and more information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It matters that Yuya Ishii is 27 years old not just because he’s put out six films in the past five years, but also because they’re so good. To prove this point, Yerba Buena Center for the Arts screens a pair of recent Ishii efforts this weekend, aptly describing them as “existential comedies.”\u003c/p>\n\u003cp>Not just an impish and sensitive soul, Ishii is a major talent. There is great charm in his goofy sincerity, but also real ambition. You get the sense of a bright young man who grew up in postmodern Japan minding his own business, then one day discovered everything around him to be beautifully preposterous and decided to investigate.\u003c/p>\n\u003cp>Sure, we can talk about plot. In \u003cb>To Walk Beside You\u003c/b>, an orphaned teenager (Ryu Morioka) elopes with his teacher (Maki Meguro), then pretends to be a famous baseball player to impress a kid, also parentless, whom he meets in the library. (Note: There is a famous baseball player named Yuya Ishii.) Later, with strange enthusiasm, a young woman wants him to pick up her beagle’s poo. Meanwhile, and also with strange enthusiasm, his new wife wants him to study law, so she takes a demeaning job in order to support him. Unbeknownst to her and against her wishes, he takes a demeaning job of his own, for which his boss requires, among other things, a dance number. Then he sees his wife’s co-workers tormenting her, and makes an awkward try for revenge. But he winds up befriending one of the tormenters, a young pregnant woman who has run away from home. “Find her and abort that damn baby!” the runaway’s mother tells the cops. There’s more, but why spoil it?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sawako.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Sawako Decides”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The title character in \u003cb>Sawako Decides\u003c/b> goes through jobs and boyfriends like this filmmaker goes through movies, except with much less apparent satisfaction. No one seems to approve of Sawako (Hikari Mistushima), including herself. Presently she returns from Tokyo to her rural hometown, where she must face down her ailing father (Kotaro Shiga) and a cruel clan of clam ladies. (Her father owns a clam-packing business.) What else? The movie begins with the administration of a colonic. It also makes thematic use of elopement and demeaning jobs and a musically demanding boss. In the background, TV news seems always to be reporting on horribly violent domestic disputes. Early on, Sawako says, “I am crying. I didn’t realize it.” Later, she tells a little girl, “Look, you’re nothing special. You’ll just have to tough it out.” But when she says this, her heart is light. It’s an epiphany, a glorious relief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taken together, \u003cb>To Walk Beside You\u003c/b> and \u003cb>Sawako Decides\u003c/b> make for a double-feature of rare vitality. Each film deals with the absurd but worthy quest for self-actualization in an almost unbearably abashed society. Each has a singular way of working itself up into mystification, curling with glee, and then unpacking itself to discover what it’s really about. And each seems to be searching, scrambling, competing with itself (and perhaps with its predecessors) to become more true. If Yuya Ishii isn’t one to watch, who is?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Lost in Japan: The Existential Comedies of Yuya Ishii\u003c/b> plays Thursday, January 13, through Sunday, January 15, at the Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets, showtimes and more information\u003c/a>, visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the fall of 2007, an inquiry changed everything for Duane Baughman — made him become a filmmaker; made him fly around the world to Pakistan; made him explore the life of a Muslim woman he had admired from afar. A \u003ca href=\"http://www.baughmancompany.com/content.cfm/main/About-Us.html\">San Francisco political consultant\u003c/a>, Baughman was approached by a Washington political advisor to work on the campaign of \u003ca href=\"http://en.wikipedia.org/wiki/Benazir_Bhutto\">Benazir Bhutto\u003c/a>, the former Pakistan prime minister who was returning from exile to run for her old position. Weeks later, Bhutto was assassinated, ending Baughman’s initial assignment, but leading to a new one: Directing the documentary \u003cb>Bhutto\u003c/b>, which is opening theatrically in San Francisco and Berkeley on Friday.\u003c/p>\n\u003cp>The film is well-made and researched, and highly acclaimed (“thorough and involving” said the \u003ci>Los Angeles Times\u003c/i>) — a dramatic window into Bhutto’s life and Pakistan’s history. Baughman’s involvement is one of those once-in-a-lifetime things that happens to people like Baughman: People who aren’t afraid to try a new career on a whim; people who have the money to invest in a project they suddenly believe in.\u003c/p>\n\u003cp>“Ninety percent of life for those who choose to live it the way I do is about having opportunities to do something that nobody else can do,” Baughman, 47, says in an interview. “The opportunity rolled up to my feet to make this film.”\u003c/p>\n\u003cp>Baughman spent $2.5 million on \u003cb>Bhutto\u003c/b>; money generated from his company, which uses innovative mail campaigns to help elect candidates. Hillary Clinton and Michael Bloomberg have been among Baughman’s high-profile clients. \u003ca href=\"http://www.lockelord.com/attorneys/detail.aspx?attorney=502\">Mark Siegel\u003c/a>, a partner at a Washington, D.C. firm that did lobbying work for the government of Pakistan in the late 1980s and early 1990s, was the person who contacted Baughman for help in the fall of 2007. Baughman, who has lived in San Francisco for 22 years (“this is the best place on Earth and I will never leave”), planned to bring his election-style razzmatazz to Pakistan — to do such things as sky-writing messages and screening video images of Bhutto on the sides of buses.\u003c/p>\n\u003cp>Bhutto was the first woman prime minister to lead a Muslim country in the modern era. She was beautiful, Harvard- and Oxford-educated, the political heir to a family whose fortunes and tragedies rival those of the Kennedys, and a woman who faced long odds in reforming a country that has always been on the edge of chaos. Bhutto’s story demanded to be told on film. For years, Baughman had been a cinephile, annually attending the Sundance festival and soaking in all the documentaries there. But he had never picked up a professional video camera before making \u003cb>Bhutto\u003c/b>, which he also produced. He hired a co-director and writer, \u003ca href=\"http://www.johnnyohara.com/\">Johnny O’Hara\u003c/a>, but \u003cb>Bhutto\u003c/b> is his vision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t whether or not I’d ever held a camera before; it was whether or not I could get to the people (like Bhutto’s family members) that no other Westerner could get to,” Baughman says. “That was 95 percent of the struggle.”\u003c/p>\n\u003cp>The struggle was aided immeasurably by Siegel, who was one of Bhutto’s closest U.S. confidants. Siegel, a former deputy assistant to President Jimmy Carter, had co-authored Bhutto’s book \u003cb>Reconciliation: Islam, Democracy, and the West\u003c/b>, and was co-producer of \u003cb>Bhutto\u003c/b>. Within weeks of Bhutto’s murder, Baughman and his crew were in Dubai interviewing Bhutto’s husband, \u003ca href=\"http://en.wikipedia.org/wiki/Asif_Ali_Zardari\">Asif Ali Zardari\u003c/a>, and his two daughters with Benazir, Bakhtawar and Asifa. Their then-fresh thoughts on Bhutto’s death and life drive \u003cb>Bhutto\u003c/b> from beginning to end, along with other dramatic footage. The film had its challenges and dangers. In September of 2008, two days after leaving Islamabad, \u003ca href=\"http://en.wikipedia.org/wiki/Islamabad_Marriott_Hotel_bombing\">militants bombed the hotel\u003c/a> where Baughman was staying, killing scores of people, many of them employees that Baughman had taken his picture with. Baughman didn’t know much about Pakistan before the film.\u003c/p>\n\u003cp>“It was one of my major fears and one of my major goals to be able to tell a story that was respectful of Islam, that was respectful of a country I had never lived in, that I was never educated about, that I really had no business making a movie about,” he says. “It drove me to work ten times as hard to distill the facts.”\u003c/p>\n\u003cp>\u003cb>Bhutto\u003c/b> features an exclusive interview with former Pakistan president Pervez Musharraf, whose lack of security for Bhutto contributed to her death, the United Nations says. \u003cb>Bhutto\u003c/b>, which has already been released in more than 30 countries (including Pakistan) and 60 cities around the United States, opens Friday in the Bay Area. The neophyte filmmaker says this is likely his first and only film. But he’s leaving the window open, as it were, in case another dramatic story comes along that inspires him. In both politics and filmmaking, says Baughman, one should never say never.\u003c/p>\n\u003cp>“I would go to Sundance every year, and all I would do is see documentaries,” he says. “I would completely overload on documentaries — me and my nephew. To me, documentaries are so much more accessible, so much closer to an audience, than feature films. The first year I went, I said, ‘Those films are amazing. They really speak to me. These issues are important.’ The second year I went, I said, ‘These are great, but last year was better.’ And the third year I went, I said, ‘I could do that.’ I just kept my eyes open after that, always believing, ‘It might not be so hard. I have the means and my company is almost running itself. I could probably take some time and do this.’ “\u003c/p>\n\u003cp>So when Siegel contacted Baughman in 2007, filmmaking was already a possibility, even if he had never done it before. The film took almost three years, prompting Baughman to say, laughing, “I had no idea how difficult it was going to be, and how expensive it was going to be. But I was convicted. And I don’t quit. I’ve never quit anything in my life. And believe me, when you get up to $1.5 million and you’re wondering what you have, and whether or not you have a movie, and you wonder whether you’re leading yourself into financial ruin, you want to quit. But it’s just not in me. So I spent another million dollars, finished it, and got out with my life, and I’m extremely happy that I made it all the way through.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Bhutto\u003c/b> opens Friday, January 7, 2011 at the Clay Theatre in San Francisco and at the Shattuck Cinemas in Berkeley. Director Duane Baughman will be at the Clay Theatre to take questions after Friday’s and Saturday’s 7pm and 9:45pm screenings.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the fall of 2007, an inquiry changed everything for Duane Baughman — made him become a filmmaker; made him fly around the world to Pakistan; made him explore the life of a Muslim woman he had admired from afar. A \u003ca href=\"http://www.baughmancompany.com/content.cfm/main/About-Us.html\">San Francisco political consultant\u003c/a>, Baughman was approached by a Washington political advisor to work on the campaign of \u003ca href=\"http://en.wikipedia.org/wiki/Benazir_Bhutto\">Benazir Bhutto\u003c/a>, the former Pakistan prime minister who was returning from exile to run for her old position. Weeks later, Bhutto was assassinated, ending Baughman’s initial assignment, but leading to a new one: Directing the documentary \u003cb>Bhutto\u003c/b>, which is opening theatrically in San Francisco and Berkeley on Friday.\u003c/p>\n\u003cp>The film is well-made and researched, and highly acclaimed (“thorough and involving” said the \u003ci>Los Angeles Times\u003c/i>) — a dramatic window into Bhutto’s life and Pakistan’s history. Baughman’s involvement is one of those once-in-a-lifetime things that happens to people like Baughman: People who aren’t afraid to try a new career on a whim; people who have the money to invest in a project they suddenly believe in.\u003c/p>\n\u003cp>“Ninety percent of life for those who choose to live it the way I do is about having opportunities to do something that nobody else can do,” Baughman, 47, says in an interview. “The opportunity rolled up to my feet to make this film.”\u003c/p>\n\u003cp>Baughman spent $2.5 million on \u003cb>Bhutto\u003c/b>; money generated from his company, which uses innovative mail campaigns to help elect candidates. Hillary Clinton and Michael Bloomberg have been among Baughman’s high-profile clients. \u003ca href=\"http://www.lockelord.com/attorneys/detail.aspx?attorney=502\">Mark Siegel\u003c/a>, a partner at a Washington, D.C. firm that did lobbying work for the government of Pakistan in the late 1980s and early 1990s, was the person who contacted Baughman for help in the fall of 2007. Baughman, who has lived in San Francisco for 22 years (“this is the best place on Earth and I will never leave”), planned to bring his election-style razzmatazz to Pakistan — to do such things as sky-writing messages and screening video images of Bhutto on the sides of buses.\u003c/p>\n\u003cp>Bhutto was the first woman prime minister to lead a Muslim country in the modern era. She was beautiful, Harvard- and Oxford-educated, the political heir to a family whose fortunes and tragedies rival those of the Kennedys, and a woman who faced long odds in reforming a country that has always been on the edge of chaos. Bhutto’s story demanded to be told on film. For years, Baughman had been a cinephile, annually attending the Sundance festival and soaking in all the documentaries there. But he had never picked up a professional video camera before making \u003cb>Bhutto\u003c/b>, which he also produced. He hired a co-director and writer, \u003ca href=\"http://www.johnnyohara.com/\">Johnny O’Hara\u003c/a>, but \u003cb>Bhutto\u003c/b> is his vision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It wasn’t whether or not I’d ever held a camera before; it was whether or not I could get to the people (like Bhutto’s family members) that no other Westerner could get to,” Baughman says. “That was 95 percent of the struggle.”\u003c/p>\n\u003cp>The struggle was aided immeasurably by Siegel, who was one of Bhutto’s closest U.S. confidants. Siegel, a former deputy assistant to President Jimmy Carter, had co-authored Bhutto’s book \u003cb>Reconciliation: Islam, Democracy, and the West\u003c/b>, and was co-producer of \u003cb>Bhutto\u003c/b>. Within weeks of Bhutto’s murder, Baughman and his crew were in Dubai interviewing Bhutto’s husband, \u003ca href=\"http://en.wikipedia.org/wiki/Asif_Ali_Zardari\">Asif Ali Zardari\u003c/a>, and his two daughters with Benazir, Bakhtawar and Asifa. Their then-fresh thoughts on Bhutto’s death and life drive \u003cb>Bhutto\u003c/b> from beginning to end, along with other dramatic footage. The film had its challenges and dangers. In September of 2008, two days after leaving Islamabad, \u003ca href=\"http://en.wikipedia.org/wiki/Islamabad_Marriott_Hotel_bombing\">militants bombed the hotel\u003c/a> where Baughman was staying, killing scores of people, many of them employees that Baughman had taken his picture with. Baughman didn’t know much about Pakistan before the film.\u003c/p>\n\u003cp>“It was one of my major fears and one of my major goals to be able to tell a story that was respectful of Islam, that was respectful of a country I had never lived in, that I was never educated about, that I really had no business making a movie about,” he says. “It drove me to work ten times as hard to distill the facts.”\u003c/p>\n\u003cp>\u003cb>Bhutto\u003c/b> features an exclusive interview with former Pakistan president Pervez Musharraf, whose lack of security for Bhutto contributed to her death, the United Nations says. \u003cb>Bhutto\u003c/b>, which has already been released in more than 30 countries (including Pakistan) and 60 cities around the United States, opens Friday in the Bay Area. The neophyte filmmaker says this is likely his first and only film. But he’s leaving the window open, as it were, in case another dramatic story comes along that inspires him. In both politics and filmmaking, says Baughman, one should never say never.\u003c/p>\n\u003cp>“I would go to Sundance every year, and all I would do is see documentaries,” he says. “I would completely overload on documentaries — me and my nephew. To me, documentaries are so much more accessible, so much closer to an audience, than feature films. The first year I went, I said, ‘Those films are amazing. They really speak to me. These issues are important.’ The second year I went, I said, ‘These are great, but last year was better.’ And the third year I went, I said, ‘I could do that.’ I just kept my eyes open after that, always believing, ‘It might not be so hard. I have the means and my company is almost running itself. I could probably take some time and do this.’ “\u003c/p>\n\u003cp>So when Siegel contacted Baughman in 2007, filmmaking was already a possibility, even if he had never done it before. The film took almost three years, prompting Baughman to say, laughing, “I had no idea how difficult it was going to be, and how expensive it was going to be. But I was convicted. And I don’t quit. I’ve never quit anything in my life. And believe me, when you get up to $1.5 million and you’re wondering what you have, and whether or not you have a movie, and you wonder whether you’re leading yourself into financial ruin, you want to quit. But it’s just not in me. So I spent another million dollars, finished it, and got out with my life, and I’m extremely happy that I made it all the way through.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For many, the most meaningful sense that one utilizes in appreciating architecture is sight. One would assume the same theory applies to the people who create architecture as well. It would be virtually impossible to construct buildings without sight. Or would it?\u003c/p>\n\u003cp>\u003cstrong>An Architect’s Vision\u003c/strong> is a glimpse into the world of Chris Downey, an architect who is blind. Chris was a successful architect whose 20-year career spanned various award-winning projects such as libraries and aquariums in addition to custom residences. Then in 2008, at the height of his career, he was diagnosed with a brain tumor that required immediate surgery. The next day Downey’s vision was blurry, as predicted, but several days later everything went dark and he lost his sight completely.\u003c/p>\n\u003cp>Armed with his other senses such as touch and sound, Downey is committed to continuing his work as an architect and even sees his blindness as a strength rather than a weakness. Discover with him what makes a building beautiful if you cannot see it and how one overcomes the challenge of designing structures without sight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many, the most meaningful sense that one utilizes in appreciating architecture is sight. One would assume the same theory applies to the people who create architecture as well. It would be virtually impossible to construct buildings without sight. Or would it?\u003c/p>\n\u003cp>\u003cstrong>An Architect’s Vision\u003c/strong> is a glimpse into the world of Chris Downey, an architect who is blind. Chris was a successful architect whose 20-year career spanned various award-winning projects such as libraries and aquariums in addition to custom residences. Then in 2008, at the height of his career, he was diagnosed with a brain tumor that required immediate surgery. The next day Downey’s vision was blurry, as predicted, but several days later everything went dark and he lost his sight completely.\u003c/p>\n\u003cp>Armed with his other senses such as touch and sound, Downey is committed to continuing his work as an architect and even sees his blindness as a strength rather than a weakness. Discover with him what makes a building beautiful if you cannot see it and how one overcomes the challenge of designing structures without sight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>2010 was a bland, mediocre year for movies, with few moments of galvanizing light or heat. You know it’s a down year when European and Asian filmmakers, counted on respectively for penetrating character studies and innovative genre films, are largely MIA. The main culprit, though, as it’s been for quite a while, is the ongoing malaise in American movies.\u003c/p>\n\u003cp>Now it’s not as easy, or as fun, as you might think to come up with a fresh year-end rant about Hollywood. I take no pleasure in harping yet again on the vapid state of American cinema, and the infantile obsession with teenage vampires and boy wizards, maniacal serial killers and animated, anthropomorphic animals, vapid rom-com heroines and cliche-riddled hero’s journeys. Every studio is single-mindedly focused on a young, male audience, and as a result computer graphics and 3D are devouring the multiplexes.\u003c/p>\n\u003cp>Anybody paying attention is well aware that Hollywood has turned the first eight months of the year into a virtual no-man’s-land for adult moviegoers, with the return of juveniles to school in September finally allowing for a parade of serious, thoughtful movies. But this year only a handful of such titles — \u003cb>The Town\u003c/b>, \u003cb>Wall Street: Money Never Sleeps\u003c/b>, \u003cb>The Social Network\u003c/b>, \u003cb>Conviction\u003c/b>, \u003cb>Stone\u003c/b>, \u003cb>Hereafter\u003c/b>, \u003cb>Fair Game\u003c/b> — opened between Labor Day and Thanksgiving. Now, finally, we’re in the midst of a blizzard of worthwhile fare, but instead of four months of interesting, challenging movies, we’re reduced to one.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-network.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“The Social Network”\u003c/p>\n\u003cp>An unnecessary trend, as long as I’m venting my spleen, was five movies set in Boston, complete with the requisite overplayed accents. As a guy with both Chicago and San Francisco connections, I’m mystified why those fascinating cities are ignored or used as generic background while Boston was overexposed in the blue-collar tints of \u003cb>The Town\u003c/b>, \u003cb>Conviction\u003c/b>, \u003cb>The Fighter\u003c/b> and \u003cb>The Company Men\u003c/b>. At least \u003cb>The Social Network\u003c/b>, which began in the cosseted world of Harvard, had the good sense to jump to Silicon Valley midway through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-lifeduring.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Life During Wartime”\u003c/p>\n\u003cp>So, as has become the norm, we turned to independent filmmakers to challenge and provoke us. Of course, eliciting uncomfortable reactions is not the path to box-office success. If \u003cb>Cyrus\u003c/b> and \u003cb>Life During Wartime\u003c/b> vanished from theaters before you caught up with them, or if you missed the tough-minded \u003cb>Winter’s Bone\u003c/b>, by all means seek them out. You’re just in time, however, for the year’s other top indie, \u003cb>Blue Valentine\u003c/b>, opening Jan. 7 in the Bay Area (exactly a year after its Sundance premiere).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-killerinside.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“The Killer Inside Me”\u003c/p>\n\u003cp>British directors, frankly, provided the most fascinating contradiction of 2010. Michael Winterbottom (the unfairly dismissed Tex-noir \u003cb>The Killer Inside Me\u003c/b> and Danny Boyle (\u003cb>127 Hours\u003c/b>, a far more introspective parable than \u003cb>The Social Network\u003c/b> of the cost of being a technologically savvy, plugged-in loner) examined different versions of American machismo to excellent effect. But working on their home turf, the venerable Stephen Frears (\u003cb>Tamara Drewe\u003c/b>) and Mike Leigh (\u003cb>Another Year\u003c/b>) failed to approach their career highs.\u003c/p>\n\u003cp>The most successful British film of the year, \u003cb>The King’s Speech\u003c/b>, is an impeccably crafted crowd-pleaser that takes pains to let us know what we should feel at every moment. However, the best British film of 2010, arguably, was \u003cb>Anton Chekhov’s The Duel\u003c/b>, filmed in Ireland by an Israeli director (Dover Koshashvili) who was born in Soviet Georgia.\u003c/p>\n\u003cp>Coincidentally, two of the strongest foreign-language films of the year, \u003cb>Ajami\u003c/b> and \u003cb>Lebanon\u003c/b>, were made by Israeli filmmakers. Other standouts included the German pre-war mountain-climbing drama \u003cb>North Face\u003c/b>, the intimate Mexican father-son portrait \u003cb>Alamar\u003c/b>, Bong Joon-Ho’s shocking mother-son yarn \u003cb>Mother\u003c/b>, Olivier Assayas’s ambitious \u003cb>Carlos\u003c/b>, Claire Denis’s breathlessly sensual \u003cb>White Material\u003c/b> and the gorgeous and mysterious Iranian fable \u003cb>The White Meadows\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-gasland.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Gasland”\u003c/p>\n\u003cp>The surest bet at the ticket window in 2010, and for most of the last decade, was choosing a documentary — any documentary. Now some people figure that they don’t miss anything by seeing a doc on the small screen, so they skip the theatrical release and wait for the DVD. If that’s you, well, you have a ton of mesmerizing nonfiction to catch up on, starting with \u003cb>The Tillman Story\u003c/b>, \u003cb>Inside Job\u003c/b>, \u003cb>A Film Unfinished\u003c/b>, \u003cb>Waste Land\u003c/b>, \u003cb>Joan Rivers — A Piece of Work\u003c/b>, \u003cb>Last Train Home\u003c/b> and \u003cb>Gasland\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-blackswan.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Black Swan”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can take your time, though. For after you trek to the best of the year-end films — \u003cb>Black Swan\u003c/b>, \u003cb>The Fighter\u003c/b>, the deliciously acted \u003cb>True Grit\u003c/b> — Hollywood will make no claim on your attention until next fall.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2010 was a bland, mediocre year for movies, with few moments of galvanizing light or heat. You know it’s a down year when European and Asian filmmakers, counted on respectively for penetrating character studies and innovative genre films, are largely MIA. The main culprit, though, as it’s been for quite a while, is the ongoing malaise in American movies.\u003c/p>\n\u003cp>Now it’s not as easy, or as fun, as you might think to come up with a fresh year-end rant about Hollywood. I take no pleasure in harping yet again on the vapid state of American cinema, and the infantile obsession with teenage vampires and boy wizards, maniacal serial killers and animated, anthropomorphic animals, vapid rom-com heroines and cliche-riddled hero’s journeys. Every studio is single-mindedly focused on a young, male audience, and as a result computer graphics and 3D are devouring the multiplexes.\u003c/p>\n\u003cp>Anybody paying attention is well aware that Hollywood has turned the first eight months of the year into a virtual no-man’s-land for adult moviegoers, with the return of juveniles to school in September finally allowing for a parade of serious, thoughtful movies. But this year only a handful of such titles — \u003cb>The Town\u003c/b>, \u003cb>Wall Street: Money Never Sleeps\u003c/b>, \u003cb>The Social Network\u003c/b>, \u003cb>Conviction\u003c/b>, \u003cb>Stone\u003c/b>, \u003cb>Hereafter\u003c/b>, \u003cb>Fair Game\u003c/b> — opened between Labor Day and Thanksgiving. Now, finally, we’re in the midst of a blizzard of worthwhile fare, but instead of four months of interesting, challenging movies, we’re reduced to one.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-network.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“The Social Network”\u003c/p>\n\u003cp>An unnecessary trend, as long as I’m venting my spleen, was five movies set in Boston, complete with the requisite overplayed accents. As a guy with both Chicago and San Francisco connections, I’m mystified why those fascinating cities are ignored or used as generic background while Boston was overexposed in the blue-collar tints of \u003cb>The Town\u003c/b>, \u003cb>Conviction\u003c/b>, \u003cb>The Fighter\u003c/b> and \u003cb>The Company Men\u003c/b>. At least \u003cb>The Social Network\u003c/b>, which began in the cosseted world of Harvard, had the good sense to jump to Silicon Valley midway through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-lifeduring.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Life During Wartime”\u003c/p>\n\u003cp>So, as has become the norm, we turned to independent filmmakers to challenge and provoke us. Of course, eliciting uncomfortable reactions is not the path to box-office success. If \u003cb>Cyrus\u003c/b> and \u003cb>Life During Wartime\u003c/b> vanished from theaters before you caught up with them, or if you missed the tough-minded \u003cb>Winter’s Bone\u003c/b>, by all means seek them out. You’re just in time, however, for the year’s other top indie, \u003cb>Blue Valentine\u003c/b>, opening Jan. 7 in the Bay Area (exactly a year after its Sundance premiere).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-killerinside.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“The Killer Inside Me”\u003c/p>\n\u003cp>British directors, frankly, provided the most fascinating contradiction of 2010. Michael Winterbottom (the unfairly dismissed Tex-noir \u003cb>The Killer Inside Me\u003c/b> and Danny Boyle (\u003cb>127 Hours\u003c/b>, a far more introspective parable than \u003cb>The Social Network\u003c/b> of the cost of being a technologically savvy, plugged-in loner) examined different versions of American machismo to excellent effect. But working on their home turf, the venerable Stephen Frears (\u003cb>Tamara Drewe\u003c/b>) and Mike Leigh (\u003cb>Another Year\u003c/b>) failed to approach their career highs.\u003c/p>\n\u003cp>The most successful British film of the year, \u003cb>The King’s Speech\u003c/b>, is an impeccably crafted crowd-pleaser that takes pains to let us know what we should feel at every moment. However, the best British film of 2010, arguably, was \u003cb>Anton Chekhov’s The Duel\u003c/b>, filmed in Ireland by an Israeli director (Dover Koshashvili) who was born in Soviet Georgia.\u003c/p>\n\u003cp>Coincidentally, two of the strongest foreign-language films of the year, \u003cb>Ajami\u003c/b> and \u003cb>Lebanon\u003c/b>, were made by Israeli filmmakers. Other standouts included the German pre-war mountain-climbing drama \u003cb>North Face\u003c/b>, the intimate Mexican father-son portrait \u003cb>Alamar\u003c/b>, Bong Joon-Ho’s shocking mother-son yarn \u003cb>Mother\u003c/b>, Olivier Assayas’s ambitious \u003cb>Carlos\u003c/b>, Claire Denis’s breathlessly sensual \u003cb>White Material\u003c/b> and the gorgeous and mysterious Iranian fable \u003cb>The White Meadows\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-gasland.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Gasland”\u003c/p>\n\u003cp>The surest bet at the ticket window in 2010, and for most of the last decade, was choosing a documentary — any documentary. Now some people figure that they don’t miss anything by seeing a doc on the small screen, so they skip the theatrical release and wait for the DVD. If that’s you, well, you have a ton of mesmerizing nonfiction to catch up on, starting with \u003cb>The Tillman Story\u003c/b>, \u003cb>Inside Job\u003c/b>, \u003cb>A Film Unfinished\u003c/b>, \u003cb>Waste Land\u003c/b>, \u003cb>Joan Rivers — A Piece of Work\u003c/b>, \u003cb>Last Train Home\u003c/b> and \u003cb>Gasland\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fox-blackswan.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Black Swan”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can take your time, though. For after you trek to the best of the year-end films — \u003cb>Black Swan\u003c/b>, \u003cb>The Fighter\u003c/b>, the deliciously acted \u003cb>True Grit\u003c/b> — Hollywood will make no claim on your attention until next fall.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s that time of year again. Time to bundle up, walk out into the cold, and… head down to the Herbst Theater for a couple of hours of archival film footage. Sponsored by the \u003ca href=\"http://www.longnow.org/\">Long Now Foundation\u003c/a> and curated by Rick Prelinger, the first person I know of to earn the label \u003ca href=\"http://en.wikipedia.org/wiki/Rick_Prelinger\">guerrilla archivist\u003c/a>, the \u003cb>Lost Landscapes\u003c/b> series has become an annual San Francisco tradition, showcasing the best of whatever leftover industrial videos and home movies Prelinger has added to or discovered in his copious collection since last year.\u003c/p>\n\u003cp>Prelinger started the \u003ca href=\"http://www.archive.org/details/prelinger\">Prelinger Archive\u003c/a> in the early 1980s after coming to the following epiphany: the United States throws out more media than most other countries produce. Prelinger began collecting exactly the kind of films that others found inconsequential: educational films, promotional films, home movies, etc. In 1999, he digitized his collection and made it available for free online (not such a popular decision at the time). Eventually, the archive was bought by the Library of Congress, where it remains, appropriation friendly, in digital perpetuity.\u003c/p>\n\u003cp>My favorite clip from last year’s \u003cb>Lost Landscapes\u003c/b> is a 1969 BART promotional film that combines proud shots of city infrastructure and construction with images of children digging in sandboxes and the sounds of an idealistic folk guitar. The singer croons, “over the hill and all along the way, we’re building a dream for tomorrow.” Ah, progress.\u003c/p>\n\u003cp>Other goodies include \u003cb>Youth on the Street\u003c/b>, black and white footage of two groups of young men loitering on their neighborhood corners, and \u003cb>Wartime Home Movies\u003c/b>, where a mom and dad in Bernal Heights humorously struggle to break ground for their victory garden and their army-enrolled son does handstands and gives his girlfriend flowers before swooping her off her feet.\u003c/p>\n\u003cp>Part of the charm is the films themselves, but the experience of watching images of San Francisco and its citizens roll by you as you engage in a game of recognition and misrecognition with a theater full of strangers and friends is also pretty special. On top of this, Prelinger usually invites a special guest to help him narrate the films.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the show has become so popular that it sold out within a few days of being announced, although there will be a few walk up tickets available. Lucky for us — and true to Prelinger’s project — the Long Now Foundation makes \u003ca href=\"http://fora.tv/2009/12/04/Rick_Prelinger_Lost_Landscapes_of_San_Francisco_4\">all previous years’ films\u003c/a> available for download.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Lost Landscapes 5\u003c/b> plays at the Herbst Theater on December 16, 2010. For \u003ca href=\"http://www.longnow.org/seminars/02010/dec/16/lost-landscapes-san-francisco-5/\">more information\u003c/a> visit longnow.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year again. Time to bundle up, walk out into the cold, and… head down to the Herbst Theater for a couple of hours of archival film footage. Sponsored by the \u003ca href=\"http://www.longnow.org/\">Long Now Foundation\u003c/a> and curated by Rick Prelinger, the first person I know of to earn the label \u003ca href=\"http://en.wikipedia.org/wiki/Rick_Prelinger\">guerrilla archivist\u003c/a>, the \u003cb>Lost Landscapes\u003c/b> series has become an annual San Francisco tradition, showcasing the best of whatever leftover industrial videos and home movies Prelinger has added to or discovered in his copious collection since last year.\u003c/p>\n\u003cp>Prelinger started the \u003ca href=\"http://www.archive.org/details/prelinger\">Prelinger Archive\u003c/a> in the early 1980s after coming to the following epiphany: the United States throws out more media than most other countries produce. Prelinger began collecting exactly the kind of films that others found inconsequential: educational films, promotional films, home movies, etc. In 1999, he digitized his collection and made it available for free online (not such a popular decision at the time). Eventually, the archive was bought by the Library of Congress, where it remains, appropriation friendly, in digital perpetuity.\u003c/p>\n\u003cp>My favorite clip from last year’s \u003cb>Lost Landscapes\u003c/b> is a 1969 BART promotional film that combines proud shots of city infrastructure and construction with images of children digging in sandboxes and the sounds of an idealistic folk guitar. The singer croons, “over the hill and all along the way, we’re building a dream for tomorrow.” Ah, progress.\u003c/p>\n\u003cp>Other goodies include \u003cb>Youth on the Street\u003c/b>, black and white footage of two groups of young men loitering on their neighborhood corners, and \u003cb>Wartime Home Movies\u003c/b>, where a mom and dad in Bernal Heights humorously struggle to break ground for their victory garden and their army-enrolled son does handstands and gives his girlfriend flowers before swooping her off her feet.\u003c/p>\n\u003cp>Part of the charm is the films themselves, but the experience of watching images of San Francisco and its citizens roll by you as you engage in a game of recognition and misrecognition with a theater full of strangers and friends is also pretty special. On top of this, Prelinger usually invites a special guest to help him narrate the films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, the show has become so popular that it sold out within a few days of being announced, although there will be a few walk up tickets available. Lucky for us — and true to Prelinger’s project — the Long Now Foundation makes \u003ca href=\"http://fora.tv/2009/12/04/Rick_Prelinger_Lost_Landscapes_of_San_Francisco_4\">all previous years’ films\u003c/a> available for download.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Lost Landscapes 5\u003c/b> plays at the Herbst Theater on December 16, 2010. For \u003ca href=\"http://www.longnow.org/seminars/02010/dec/16/lost-landscapes-san-francisco-5/\">more information\u003c/a> visit longnow.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ll be honest: I’m glad Playland at the Beach was before my time. Is glad too strong a word? Relieved. From all I’ve heard and seen of the place, I just can’t help but get the impression of something utterly unholy.\u003c/p>\n\u003cp>A west-coast Coney Island was the idea, but that’s putting it optimistically. Besides, isn’t Coney Island itself already a tad depraved? Aren’t all amusement parks? I recognize that I’ve been conditioned to think this way by movies, having soaked up the varied horrors of so many cheap thrillers, squirmy coming-of-age comedies and San Francisco’s own noir canon (in which more than one harrowing climax gets staged in the general Playland vicinity). Well, it doesn’t help to have local director Tom Wyrsch’s documentary \u003cb>Remembering Playland\u003c/b>, a nonchalant assembly of stock footage and talking-head remembrance, implying that the absence of the place has left a whole generation haunted.\u003c/p>\n\u003cp>Oh sure, Wyrsch means well. But he’s kind of freaking me out. I don’t think I need to know any more about the mysterious bobsled accident in the early days, after which the place suddenly had new owners. I understand that the rumor of the roller-coaster beheading was just a rumor. That in fact it was merely a crushed skull. And it was a long time ago. And yes, Wyrsch does point out that they had a sign, disclaiming, “Danger: Do Not Stand Up.” It’s just that, well, he also points out that in those same early days, there weren’t even any kids. Just neatly suited adults in face-concealing hats. Creepy.\u003c/p>\n\u003cp>As for Laffing Sal, the plump, animatronic park hostess who stood there spewing a maniacal titter like some Wal-Mart greeter with severe self-medicated PTSD, I am glad never to have made her acquaintance.\u003c/p>\n\u003cp>“I never got that,” one of Wyrsch’s testifiers says, “why people were scared of her.” OK, let’s all keep our eyes on that guy. I’m more inclined to trust the other guy, who says, “I don’t know why they called it the Fun House. They should have called it the House of Torture and Humiliation or something.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Location has a lot to do with it. History has shown us that the upper corner of Ocean Beach seems less than inherently recreational. As far as I know, we’re not dealing with the actual horror of having profaned a Native American burial ground (that would be the Bay Street shopping complex in Emeryville, even spookier and still going strong). But there’s still something ominous about this ten-acre spread at the outer edge of the continent, where, weatherbeaten by frigid salty fog approximately 360 days per year for nearly a century, Playland finally slipped into a coma of disuse and got demolished in 1972. (Concerned looters snuck off with souvenirs, which now live at Playland Not at the Beach, in El Cerrito.)\u003c/p>\n\u003cp>In addition to the post-demolition film stills, with skull-adorned empty buildings out of some apocalyptic thriller, it’s a nice touch when someone in Wyrsch’s film describes the park’s closure as “destroying everything and breaking every little kid’s heart.” Good to know that before going under, it finally was discovered by the children!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Remembering Playland\u003c/b> screens 4:15pm, Sunday, December 12, 2010, with director Tom Wyrsch in person, at the Christopher B. Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.cafilm.org\">tickets and information\u003c/a>, visit cafilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ll be honest: I’m glad Playland at the Beach was before my time. Is glad too strong a word? Relieved. From all I’ve heard and seen of the place, I just can’t help but get the impression of something utterly unholy.\u003c/p>\n\u003cp>A west-coast Coney Island was the idea, but that’s putting it optimistically. Besides, isn’t Coney Island itself already a tad depraved? Aren’t all amusement parks? I recognize that I’ve been conditioned to think this way by movies, having soaked up the varied horrors of so many cheap thrillers, squirmy coming-of-age comedies and San Francisco’s own noir canon (in which more than one harrowing climax gets staged in the general Playland vicinity). Well, it doesn’t help to have local director Tom Wyrsch’s documentary \u003cb>Remembering Playland\u003c/b>, a nonchalant assembly of stock footage and talking-head remembrance, implying that the absence of the place has left a whole generation haunted.\u003c/p>\n\u003cp>Oh sure, Wyrsch means well. But he’s kind of freaking me out. I don’t think I need to know any more about the mysterious bobsled accident in the early days, after which the place suddenly had new owners. I understand that the rumor of the roller-coaster beheading was just a rumor. That in fact it was merely a crushed skull. And it was a long time ago. And yes, Wyrsch does point out that they had a sign, disclaiming, “Danger: Do Not Stand Up.” It’s just that, well, he also points out that in those same early days, there weren’t even any kids. Just neatly suited adults in face-concealing hats. Creepy.\u003c/p>\n\u003cp>As for Laffing Sal, the plump, animatronic park hostess who stood there spewing a maniacal titter like some Wal-Mart greeter with severe self-medicated PTSD, I am glad never to have made her acquaintance.\u003c/p>\n\u003cp>“I never got that,” one of Wyrsch’s testifiers says, “why people were scared of her.” OK, let’s all keep our eyes on that guy. I’m more inclined to trust the other guy, who says, “I don’t know why they called it the Fun House. They should have called it the House of Torture and Humiliation or something.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Location has a lot to do with it. History has shown us that the upper corner of Ocean Beach seems less than inherently recreational. As far as I know, we’re not dealing with the actual horror of having profaned a Native American burial ground (that would be the Bay Street shopping complex in Emeryville, even spookier and still going strong). But there’s still something ominous about this ten-acre spread at the outer edge of the continent, where, weatherbeaten by frigid salty fog approximately 360 days per year for nearly a century, Playland finally slipped into a coma of disuse and got demolished in 1972. (Concerned looters snuck off with souvenirs, which now live at Playland Not at the Beach, in El Cerrito.)\u003c/p>\n\u003cp>In addition to the post-demolition film stills, with skull-adorned empty buildings out of some apocalyptic thriller, it’s a nice touch when someone in Wyrsch’s film describes the park’s closure as “destroying everything and breaking every little kid’s heart.” Good to know that before going under, it finally was discovered by the children!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Remembering Playland\u003c/b> screens 4:15pm, Sunday, December 12, 2010, with director Tom Wyrsch in person, at the Christopher B. Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.cafilm.org\">tickets and information\u003c/a>, visit cafilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not true that the only reason to watch a bunch of films by the Danish director Carl Theodor Dreyer is to be able to answer for yourself which ones are the masterpieces, and the best films ever made, and why. But that’s as good a place to start as any.\u003c/p>\n\u003cp>Eloquent testimony to Dreyer’s greatness is not hard to come by. Luminary critics from every era of film history have staked their reputations on him. François Truffaut saw him among “the kings of the first generation of cinema, the generation that mastered, first, silence, and then sound.” Paul Schrader launched his career on a thesis about Dreyer’s “Transcendental Style.” Jean-Luc Godard said his piece on Dreyer cinematically, with \u003cb>Vivre Sa Vie\u003c/b>, by sending Anna Karina into the peculiar crucible of a movie theater, where she sees and resembles Maria Falconetti as Dreyer’s Joan of Arc.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wrath1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Day of Wrath”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>You can do likewise at the Paramount Theatre in Oakland on December 2, and warm up in the meantime with a month’s worth of Dreyer at the Pacific Film Archive. If a whole spate of movies wracked with metaphysical seriousness does not at first appeal, try anyway. It starts tonight (Friday, Nov. 5) with the illuminating double feature of \u003cb>Day of Wrath\u003c/b>, the medieval witch-trial drama Dreyer made in 1943, when the Nazis occupied Denmark, and Godard’s aforementioned veneration, from 1962, itself described by Manny Farber as “a film of extraordinary purity.”\u003c/p>\n\u003cp>That’s obviously a product of the master’s influence: Purity is of the essence in Dreyer’s films, which — having generally forgone the self-dating festoons of technique for more enduring cinematic ingredients, like the searching, searing close-up — often concern themselves with purifications. Although not inclined to pontificate, Dreyer wanted to examine mankind’s problematic receptiveness to spiritual power. He did not flinch from his findings. \u003cb>The Passion of Joan of Arc\u003c/b>, from 1928, was the benchmark, but not the beginning. Nor was it the end of an affinity for disempowered or downright oppressed protagonists, usually female, that endured until his final film, 1964’s loveless-marriage drama, \u003cb>Gertrud\u003c/b>. There is even a purity and palpable command of presentation in Dreyer’s proto-horror classic \u003cb>Vampyr\u003c/b>, from 1931, which was funded by its own lead actor, a baron, who looks in the movie like Franz Kafka crossed with Jimmy Stewart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wrath.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Vampyr”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>In Dreyer’s methodical films, beats go slower than we’re used to, but rhythm never relents. For all the rigor it requires to get through his many dark nights of the soul, there’s also gentleness and the delicacy of dignity. Silly as it may sound, Dreyer is refreshing. Moral complexity, shown with visual clarity: isn’t that the greatest, too-often squandered capacity of the cinema art?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Carl Theodor Dreyer\u003c/b> runs November 5 through December 12, 2010, at the Pacific Film Archive in Berkeley. \u003cb>The Passion of Joan of Arc\u003c/b>, with a live orchestral performance of Richard Einhorn’s \u003cb>Voices of Light\u003c/b>, plays at 7:30pm Tuesday, December 2, 2010, at the Paramount Theatre in Oakland. For \u003ca href=\"http://www.bampfa.berkeley.edu\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cp>It’s easy to confuse fuzzy juvenile recollections of watching \u003cb>Sesame Street\u003c/b> with shameful ones of being caught, at age nine, enjoying \u003cb>Barney and Friends\u003c/b> by an older brother. It all falls into that hazy area of the formative years: a force-fed alphabet soup of educational children’s programming, graham crackers and being taught to count (by The Count).\u003c/p>\n\u003cp>Though these warm, fuzzy memories of \u003cb>Sesame Street\u003c/b> may linger, the Yerba Buena Center for the Arts’ \u003cb>More Muppet Magic: Jim Henson’s Legacy\u003c/b> seeks to dispel those vague impressions. Celebrating the 40-year anniversary of \u003cb>Sesame Street\u003c/b>, the YBCA’s month-long retrospective is an effort not only to entertain the kids, but also to provide their parents with a new perspective with which to revisit familiar material.\u003c/p>\n\u003cp>The four-part tribute runs throughout the month of October, focusing on the history and scope of America’s longest-running children’s television series. The programs in the series address specific aspects of \u003cb>Sesame Street\u003c/b>‘s production, from best-of compilations to behind-the-scenes footage and interviews, also covering music and the lesser-known evolution of the Muppets themselves. Programs in the retrospective include \u003cb>Sesame Street at 40: Milestones on the Street\u003c/b>, \u003cb>Jim Henson & Friends: Inside the Sesame Street Vault\u003c/b>, \u003cb>Sing! The Music of Sesame Street\u003c/b> and \u003cb>Muppets History 201: Rarities from the Henson Vault\u003c/b>.\u003c/p>\n\u003cp>This isn’t \u003cb>Sesame Street\u003c/b> as you may remember it. You might have relegated it to the stuff of kid-friendly buzz-words, as a show embodying “multicultural” and “educational” while gently “addressing real-life social issues.” The YBCA’s survey of \u003cb>Sesame Street\u003c/b> reveals the handiwork of adults armed with an abundance of puns and a tongue-in-cheek sense of humor. The show’s schmaltz and good cheer aren’t the result of child-safe pandering, but the work of grown-ups who know how to produce kid-centric material and have fun while doing it. Need proof? Just watch Patrick Stewart (aka Captain Picard) waxing Shakespearean with a molded letter B, “B or not a B?”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=hA7lv1SDzno&fs=1&hl=en_US]\u003c/p>\n\u003cp>\u003cb>Sesame Street\u003c/b> has definitely retained the multi-flavored atmosphere that made it so engaging in childhood: there’s a lot to enjoy, from the simple pleasures (children … so cute!) to the sly wit. Even the pop-culture critic can enjoy appearances from old classics — C3PO and R2D2 teaching kids how to count — to modern performers (see: Feist) re-defining their classic songs with a child-like twist. It all lends itself to the legacy of a long-established program that keeps its content modern. \u003cb>Sesame Street\u003c/b> is not — as you may remember it — a kids-only zone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>More Muppet Magic: Jim Henson’s Legacy\u003c/b> runs October 1-30, 2010 at the Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=12087\">tickets and information\u003c/a> visit ybca.org/film. \u003c/p>\n\n",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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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 />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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