window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557161
},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"title": "Movies",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 270
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 270
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_1173": {
"type": "posts",
"id": "arts_1173",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1173",
"score": null,
"sort": [
1127980800000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1127980800,
"format": "standard",
"title": "Capote",
"headTitle": "Capote | KQED",
"content": "\u003cp>\u003ca href=\"http://www.apple.com/trailers/sony/capote.html\">Watch the trailer\u003c/a> (at apple.com).\u003c/p>\n\u003cp>Warning: Anyone who has not read \u003cb>In Cold Blood\u003c/b> and would view revelations of incidents in and the outcome of that book as a plot spoiler for Bennet Miller’s film, \u003cb>Capote\u003c/b> SHOULD NOT READ this post.\u003c/p>\n\u003cp>About three months ago I picked up Truman Capote’s \u003cb>In Cold Blood\u003c/b>. It was one of those titles that had always been on my list of things to do, one of the “classics” that I knew I should at some point get through. Thing is, once I began reading, I discovered that it was also one of those books that one literally cannot put down. I devoured it in a day or two and was put off other books for weeks afterward, mostly because they were all so pale, so poorly written in comparison.\u003c/p>\n\u003cp>Bennett Miller’s film, \u003cb>Capote\u003c/b>, chronicles the years the author spent researching and writing the book that would make him the most famous author in America. While reading the \u003ci>New York Times\u003c/i>, Capote discovered the story of the Clutter family, found murdered in their farmhouse in Holcombe, Kansas, and convinced his magazine editor to send him there to write a piece exploring the brutal murders’ effect on the small town. In tow is Capote’s long-time friend Harper Lee, whose book \u003cb>To Kill a Mockingbird\u003c/b> would shortly be published and win her the Pulitzer Prize.\u003c/p>\n\u003cp>The two blow into town as preparations are being made for the Clutter family funeral. They are a study in contrasts. Truman Capote had a lisping, child-like voice and the mannerisms of a precocious boy who never grew up. Philip Seymour Hoffman truly and entirely inhabits the character — as drunken bon vivant on the New York party scene; as ambitious and sometimes manipulative author ferreting out the true story that will seal his fame; and as vulnerable outsider, knowing that his blatant homosexuality leaves him open to attack and dismissal by the Kansas locals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Catherine Keener’s Harper Lee is equal parts empathy and detachment. She is both buffer and apologist for Capote, checking his ego when it gets out of control and acting as a conscience he will almost always ignore. She is Capote’s open-faced, plain-spoken, somewhat dour lifeline to the locals. As Truman says, “The only person qualified to be both a research assistant and personal bodyguard.”\u003c/p>\n\u003cp>The chemistry between Hoffman and Keener perfectly captures the nuances of a friendship that has lasted since childhood. Truman and Harper know each other well and have already made peace with one another’s shortcomings.\u003c/p>\n\u003cp>While Capote and Lee are in Holcombe, slowly ingratiating themselves with the locals and teasing out the Clutter family’s story, the murderers, Perry Smith and Dick Hickock are apprehended. A trial ensues and the two are found guilty and sentenced to death. After several years of appeals that reach all the way to the U.S. Supreme Court, Smith and Hickock are hanged.\u003c/p>\n\u003cp>The film follows Truman Capote’s pursuit of the story through his development of personal relationships with the lead investigator, Alvin Dewey and with one of the murderers, Perry Smith, tracking the (at times) ruthlessness of the creative process and exposing the callous calculations of art and commerce journalism. Though \u003cb>In Cold Blood\u003c/b> would make Truman Capote’s career, it would be the last book he completed. \u003cb>Capote\u003c/b> exposes the machinations the author went through to manipulate access to the murderers, the investigators and the family’s closest friends. It reveals him as both compassionate confidante and ambitious opportunist, pursuing his subject relentlessly.\u003c/p>\n\u003cp>There is a passage where Truman describes the night of the Clutter family murders as the moment when “two American worlds converged” — the quiet conservative America was fatally confronted with the criminally violent one. It reminded me of the recent disaster in New Orleans, another moment when two very different Americas collided and forced us, however briefly, to confront our reality. The hurricane blew off the façade of eternal prosperity to reveal a layer of crushing poverty just beneath the surface. Truman confronts the tenuousness of his own reality via the intimate relationship he develops with Perry Smith, describing the two as “having grown up in the same house,” their childhoods are so similarly plagued with abuse and neglect. Where Smith had chosen to leave the house by the back door, Capote had left using the front. Otherwise their fates might have been reversed.\u003c/p>\n\u003cp>Because it captures moments so perfectly, with slight gesture, austere landscape and perfect line, \u003cb>Capote\u003c/b> sparks ideas and insights throughout. When Truman reveals that he will name his “non-fiction novel” \u003cb>In Cold Blood\u003c/b>, the multiple meanings behind that title came instantly to mind: it describes how the murders were committed, how the family was found and how the story was pursued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Capote\u003c/b> opens October 7.\u003cbr>\n\u003ca href=\"http://www.sfgate.com/movies/playing/\">Get theaters and show times\u003c/a> (at sfgate.com).\u003cbr>\n\u003ca href=\"http://www.imdb.com/title/tt0379725/\">IMDB entry for this movie\u003c/a>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 850,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705053949,
"excerpt": "About three months ago I picked up Truman Capote's \u003cb>In Cold Blood\u003c/b>. It was one of those titles that had always been on my list of things to do, one of the \"classics\" that I knew I should at some point get through. Thing is, once I began reading, I discovered that it was also one of those books that one literally cannot put down. I devoured it in a day or two and was put off other books for weeks afterward, mostly because they were all so pale, so poorly written in comparison.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "About three months ago I picked up Truman Capote's In Cold Blood. It was one of those titles that had always been on my list of things to do, one of the "classics" that I knew I should at some point get through. Thing is, once I began reading, I discovered that it was also one of those books that one literally cannot put down. I devoured it in a day or two and was put off other books for weeks afterward, mostly because they were all so pale, so poorly written in comparison.",
"title": "Capote | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Capote",
"datePublished": "2005-09-29T01:00:00-07:00",
"dateModified": "2024-01-12T02:05:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "capote",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/1173/capote",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.apple.com/trailers/sony/capote.html\">Watch the trailer\u003c/a> (at apple.com).\u003c/p>\n\u003cp>Warning: Anyone who has not read \u003cb>In Cold Blood\u003c/b> and would view revelations of incidents in and the outcome of that book as a plot spoiler for Bennet Miller’s film, \u003cb>Capote\u003c/b> SHOULD NOT READ this post.\u003c/p>\n\u003cp>About three months ago I picked up Truman Capote’s \u003cb>In Cold Blood\u003c/b>. It was one of those titles that had always been on my list of things to do, one of the “classics” that I knew I should at some point get through. Thing is, once I began reading, I discovered that it was also one of those books that one literally cannot put down. I devoured it in a day or two and was put off other books for weeks afterward, mostly because they were all so pale, so poorly written in comparison.\u003c/p>\n\u003cp>Bennett Miller’s film, \u003cb>Capote\u003c/b>, chronicles the years the author spent researching and writing the book that would make him the most famous author in America. While reading the \u003ci>New York Times\u003c/i>, Capote discovered the story of the Clutter family, found murdered in their farmhouse in Holcombe, Kansas, and convinced his magazine editor to send him there to write a piece exploring the brutal murders’ effect on the small town. In tow is Capote’s long-time friend Harper Lee, whose book \u003cb>To Kill a Mockingbird\u003c/b> would shortly be published and win her the Pulitzer Prize.\u003c/p>\n\u003cp>The two blow into town as preparations are being made for the Clutter family funeral. They are a study in contrasts. Truman Capote had a lisping, child-like voice and the mannerisms of a precocious boy who never grew up. Philip Seymour Hoffman truly and entirely inhabits the character — as drunken bon vivant on the New York party scene; as ambitious and sometimes manipulative author ferreting out the true story that will seal his fame; and as vulnerable outsider, knowing that his blatant homosexuality leaves him open to attack and dismissal by the Kansas locals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Catherine Keener’s Harper Lee is equal parts empathy and detachment. She is both buffer and apologist for Capote, checking his ego when it gets out of control and acting as a conscience he will almost always ignore. She is Capote’s open-faced, plain-spoken, somewhat dour lifeline to the locals. As Truman says, “The only person qualified to be both a research assistant and personal bodyguard.”\u003c/p>\n\u003cp>The chemistry between Hoffman and Keener perfectly captures the nuances of a friendship that has lasted since childhood. Truman and Harper know each other well and have already made peace with one another’s shortcomings.\u003c/p>\n\u003cp>While Capote and Lee are in Holcombe, slowly ingratiating themselves with the locals and teasing out the Clutter family’s story, the murderers, Perry Smith and Dick Hickock are apprehended. A trial ensues and the two are found guilty and sentenced to death. After several years of appeals that reach all the way to the U.S. Supreme Court, Smith and Hickock are hanged.\u003c/p>\n\u003cp>The film follows Truman Capote’s pursuit of the story through his development of personal relationships with the lead investigator, Alvin Dewey and with one of the murderers, Perry Smith, tracking the (at times) ruthlessness of the creative process and exposing the callous calculations of art and commerce journalism. Though \u003cb>In Cold Blood\u003c/b> would make Truman Capote’s career, it would be the last book he completed. \u003cb>Capote\u003c/b> exposes the machinations the author went through to manipulate access to the murderers, the investigators and the family’s closest friends. It reveals him as both compassionate confidante and ambitious opportunist, pursuing his subject relentlessly.\u003c/p>\n\u003cp>There is a passage where Truman describes the night of the Clutter family murders as the moment when “two American worlds converged” — the quiet conservative America was fatally confronted with the criminally violent one. It reminded me of the recent disaster in New Orleans, another moment when two very different Americas collided and forced us, however briefly, to confront our reality. The hurricane blew off the façade of eternal prosperity to reveal a layer of crushing poverty just beneath the surface. Truman confronts the tenuousness of his own reality via the intimate relationship he develops with Perry Smith, describing the two as “having grown up in the same house,” their childhoods are so similarly plagued with abuse and neglect. Where Smith had chosen to leave the house by the back door, Capote had left using the front. Otherwise their fates might have been reversed.\u003c/p>\n\u003cp>Because it captures moments so perfectly, with slight gesture, austere landscape and perfect line, \u003cb>Capote\u003c/b> sparks ideas and insights throughout. When Truman reveals that he will name his “non-fiction novel” \u003cb>In Cold Blood\u003c/b>, the multiple meanings behind that title came instantly to mind: it describes how the murders were committed, how the family was found and how the story was pursued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Capote\u003c/b> opens October 7.\u003cbr>\n\u003ca href=\"http://www.sfgate.com/movies/playing/\">Get theaters and show times\u003c/a> (at sfgate.com).\u003cbr>\n\u003ca href=\"http://www.imdb.com/title/tt0379725/\">IMDB entry for this movie\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1173/capote",
"authors": [
"135"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1174": {
"type": "posts",
"id": "arts_1174",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1174",
"score": null,
"sort": [
1127894400000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1127894400,
"format": "standard",
"title": "El Crimen Perfecto",
"headTitle": "El Crimen Perfecto | KQED",
"content": null,
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 0,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 0
},
"modified": 1705053951,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "",
"title": "El Crimen Perfecto | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "El Crimen Perfecto",
"datePublished": "2005-09-28T01:00:00-07:00",
"dateModified": "2024-01-12T02:05:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "el_crimen_perfecto",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/1174/el_crimen_perfecto",
"audioTrackLength": null,
"link": "/arts/1174/el_crimen_perfecto",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1175": {
"type": "posts",
"id": "arts_1175",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1175",
"score": null,
"sort": [
1127718000000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1127718000,
"format": "standard",
"title": "A Trip Down Market Street",
"headTitle": "A Trip Down Market Street | KQED",
"content": "\u003cp>In 1905 Jack Kuttner placed a 35mm camera on a streetcar at noon one weekday and filmed the chaos and frenetic energy that reigned supreme before stoplights, walkways and rules of the road regulated the movement of traffic and human beings on San Francisco’s Market Street. The film, \u003cb>A Trip Down Market Street\u003c/b> transcends its simple concept by beautifully capturing the essence of a time and place in San Francisco’s history when streetcars, horse drawn wagons, and human beings shared the road without the intrusion of the automobile. To mark the centennial of this historic film, curators Liz Keim and Melinda Stone devised an outdoor screening to celebrate the original footage and to recreate the trip down Market Street with a new film. Historical films and newly commissioned short pieces accompanied by live music, commemorating the history of San Francisco’s main thoroughfare, rounded out the evening’s program.\u003c/p>\n\u003cp>As I rode downtown, I braced myself for the frigid wind that whips through San Francisco at night. I had already lost my voice and been afflicted with the usual unexplained cold virus that spreads across the city like a wildfire. So I came prepared with a wool coat, hat, gloves and scarf. These are, in essence, the basic survival tools necessary to make it through any outdoor screening in San Francisco. As I emerged from the underground, I was pleasantly surprised by a beautiful night, with only a gentle breeze in the air. As I walked towards the Ferry Building, I was struck by the magic of downtown San Francisco at night, the glowing streetlamps and the hundreds of lights flickering in the windows of the office buildings. The place loses its homogenous workday feel and gives off a magical glow. In the midst of my downtown reverie, I managed to walk right past a giant screen and hundreds of people gathered at the foot of Market Street.\u003c/p>\n\u003cp>After reaching the water and gazing out across the bay, I doubled back and located the event. The audience was sprawled on the grass and along the concrete embankment with blankets and picnic baskets in tow. There were about a thousand people of all ages represented, from tiny babies to senior citizens, and everyone else in between. It was great to see a public space transformed into a screening space and to be participating in a community event that was free. The atmosphere invited people passing by to stop and watch, if only for a moment.\u003c/p>\n\u003cp>As the screen lit up, the audience took a journey down the Market Street of a century ago. Rather than a languid ride down Main Street, \u003cb>A Trip Down Market Street\u003c/b> depicts a fast paced, uncontrolled environment with pedestrians darting in front of streetcars and horse drawn wagons moving in all directions at once. The film provides ample evidence that relentless traffic plagued Market Street one hundred years ago, just as it does today. As the streetcar slowly rolled down the street I tried to imagine the sounds and smells and atmosphere of turn-of-the-century San Francisco. The heady days of the Barbary Coast and the Gold Rush were over and the place was transformed from a sailor’s outpost into a thriving port city. I realized the footage offered a rare glimpse of San Francisco before the 1906 earthquake would devastate most of the city. Many of the buildings passing before our eyes, would crumble to the ground a year after this footage was shot.\u003c/p>\n\u003cp>This became all too apparent in the next film, \u003cb>Market Street After the Fire\u003c/b> an eerie glimpse of the devastation after the 1906 earthquake and ensuing three-day fire that ravaged the city. Through thick clouds of dust and smoke, the audience was stunned to see a majority of buildings from the earlier footage, decimated to mere rubble. In the distance the only building that seemed to be standing was the Ferry building. The stark black and white images and creepy sound design by Dave Cerf gave the charred turn-of-the-century San Francisco landscape a post-apocalyptic feel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>It’s Ten-O-Win\u003c/b> offered a different perspective on Market Street by documenting the once popular game of Ten-O-Win, a bingo-inspired wheel of fortune game invented by Dan McLean at the Embassy Theater on Market Street. The game consisted of a huge wheel of fortune that was pulled out onto the stage and spun nightly during the intermissions between films. The film depicts a sultry forerunner to Vanna White clad in a skin-tight leopard print dress calling out winners as she spins the giant Ten-O-Win wheel. Christian Bruno discovered the beautifully shot, super-saturated color footage as he was working on his documentary about single screen theaters in San Francisco.\u003c/p>\n\u003cp>The last film of the evening was the modern version of \u003cb>A Trip Down Market Street\u003c/b>, directed by Melinda Stone and Sprague Anderson, and accompanied by the Beth Custer Ensemble. The film traces the same trip made in 1905, but in contrast the footage today seems far less anarchistic. Traffic lights mediate the flow of traffic and human beings have all but disappeared, residing merely in the edges of the frame. No longer do human beings dare to exist in the midst of the chaos, we are relegated to the sidewalk, as cars dominate the flow and movement down Market Street. The film is beautiful, but also a sad reminder of what we have given up in deference to the automobile, in terms of public space. As the audience watches the train car make its way down Market Street on film, a refurbished F-line trolley car passes behind the screen, disappears momentarily and emerges on the other side, a reminder of how the past and present often converge.\u003c/p>\n\u003cp>As the night wound to an end, I was reminded how lucky we are in San Francisco to have a vibrant community of people who have the desire and vision to rethink the way we use public space and to do it in creative ways that engage a wide variety of people from different walks of life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The event was sponsored by the \u003ca href=\"http://www.exploratorium.edu/\">Exploratorium\u003c/a> (at exploratorium.edu) and the \u003ca href=\"http://www.sfgov.org/site/mainpages_index.asp?id=12798\">San Francisco Arts Commission\u003c/a> (at sfgov.org).\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1056,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705053952,
"excerpt": "In 1905 Jack Kuttner placed a 35mm camera on a streetcar at noon one weekday and filmed the chaos and frenetic energy that reigned supreme before stoplights, walkways and rules of the road regulated the movement of traffic and human beings on San Francisco's Market Street. The film, \u003cb>A Trip Down Market Street\u003c/b> transcends its simple concept by beautifully capturing the essence of a time and place in San Francisco's history when streetcars, horse drawn wagons, and human beings shared the road without the intrusion of the automobile. To mark the centennial of this historic film, curators Liz Keim and Melinda Stone devised an outdoor screening to celebrate the original footage and to recreate the trip down Market Street with a new film. Historical films and newly commissioned short pieces accompanied by live music, commemorating the history of San Francisco's main thoroughfare, rounded out the evening's program.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In 1905 Jack Kuttner placed a 35mm camera on a streetcar at noon one weekday and filmed the chaos and frenetic energy that reigned supreme before stoplights, walkways and rules of the road regulated the movement of traffic and human beings on San Francisco's Market Street. The film, A Trip Down Market Street transcends its simple concept by beautifully capturing the essence of a time and place in San Francisco's history when streetcars, horse drawn wagons, and human beings shared the road without the intrusion of the automobile. To mark the centennial of this historic film, curators Liz Keim and Melinda Stone devised an outdoor screening to celebrate the original footage and to recreate the trip down Market Street with a new film. Historical films and newly commissioned short pieces accompanied by live music, commemorating the history of San Francisco's main thoroughfare, rounded out the evening's program.",
"title": "A Trip Down Market Street | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Trip Down Market Street",
"datePublished": "2005-09-26T00:00:00-07:00",
"dateModified": "2024-01-12T02:05:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a_trip_down_market_street",
"status": "publish",
"sticky": false,
"path": "/arts/1175/a_trip_down_market_street",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1905 Jack Kuttner placed a 35mm camera on a streetcar at noon one weekday and filmed the chaos and frenetic energy that reigned supreme before stoplights, walkways and rules of the road regulated the movement of traffic and human beings on San Francisco’s Market Street. The film, \u003cb>A Trip Down Market Street\u003c/b> transcends its simple concept by beautifully capturing the essence of a time and place in San Francisco’s history when streetcars, horse drawn wagons, and human beings shared the road without the intrusion of the automobile. To mark the centennial of this historic film, curators Liz Keim and Melinda Stone devised an outdoor screening to celebrate the original footage and to recreate the trip down Market Street with a new film. Historical films and newly commissioned short pieces accompanied by live music, commemorating the history of San Francisco’s main thoroughfare, rounded out the evening’s program.\u003c/p>\n\u003cp>As I rode downtown, I braced myself for the frigid wind that whips through San Francisco at night. I had already lost my voice and been afflicted with the usual unexplained cold virus that spreads across the city like a wildfire. So I came prepared with a wool coat, hat, gloves and scarf. These are, in essence, the basic survival tools necessary to make it through any outdoor screening in San Francisco. As I emerged from the underground, I was pleasantly surprised by a beautiful night, with only a gentle breeze in the air. As I walked towards the Ferry Building, I was struck by the magic of downtown San Francisco at night, the glowing streetlamps and the hundreds of lights flickering in the windows of the office buildings. The place loses its homogenous workday feel and gives off a magical glow. In the midst of my downtown reverie, I managed to walk right past a giant screen and hundreds of people gathered at the foot of Market Street.\u003c/p>\n\u003cp>After reaching the water and gazing out across the bay, I doubled back and located the event. The audience was sprawled on the grass and along the concrete embankment with blankets and picnic baskets in tow. There were about a thousand people of all ages represented, from tiny babies to senior citizens, and everyone else in between. It was great to see a public space transformed into a screening space and to be participating in a community event that was free. The atmosphere invited people passing by to stop and watch, if only for a moment.\u003c/p>\n\u003cp>As the screen lit up, the audience took a journey down the Market Street of a century ago. Rather than a languid ride down Main Street, \u003cb>A Trip Down Market Street\u003c/b> depicts a fast paced, uncontrolled environment with pedestrians darting in front of streetcars and horse drawn wagons moving in all directions at once. The film provides ample evidence that relentless traffic plagued Market Street one hundred years ago, just as it does today. As the streetcar slowly rolled down the street I tried to imagine the sounds and smells and atmosphere of turn-of-the-century San Francisco. The heady days of the Barbary Coast and the Gold Rush were over and the place was transformed from a sailor’s outpost into a thriving port city. I realized the footage offered a rare glimpse of San Francisco before the 1906 earthquake would devastate most of the city. Many of the buildings passing before our eyes, would crumble to the ground a year after this footage was shot.\u003c/p>\n\u003cp>This became all too apparent in the next film, \u003cb>Market Street After the Fire\u003c/b> an eerie glimpse of the devastation after the 1906 earthquake and ensuing three-day fire that ravaged the city. Through thick clouds of dust and smoke, the audience was stunned to see a majority of buildings from the earlier footage, decimated to mere rubble. In the distance the only building that seemed to be standing was the Ferry building. The stark black and white images and creepy sound design by Dave Cerf gave the charred turn-of-the-century San Francisco landscape a post-apocalyptic feel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>It’s Ten-O-Win\u003c/b> offered a different perspective on Market Street by documenting the once popular game of Ten-O-Win, a bingo-inspired wheel of fortune game invented by Dan McLean at the Embassy Theater on Market Street. The game consisted of a huge wheel of fortune that was pulled out onto the stage and spun nightly during the intermissions between films. The film depicts a sultry forerunner to Vanna White clad in a skin-tight leopard print dress calling out winners as she spins the giant Ten-O-Win wheel. Christian Bruno discovered the beautifully shot, super-saturated color footage as he was working on his documentary about single screen theaters in San Francisco.\u003c/p>\n\u003cp>The last film of the evening was the modern version of \u003cb>A Trip Down Market Street\u003c/b>, directed by Melinda Stone and Sprague Anderson, and accompanied by the Beth Custer Ensemble. The film traces the same trip made in 1905, but in contrast the footage today seems far less anarchistic. Traffic lights mediate the flow of traffic and human beings have all but disappeared, residing merely in the edges of the frame. No longer do human beings dare to exist in the midst of the chaos, we are relegated to the sidewalk, as cars dominate the flow and movement down Market Street. The film is beautiful, but also a sad reminder of what we have given up in deference to the automobile, in terms of public space. As the audience watches the train car make its way down Market Street on film, a refurbished F-line trolley car passes behind the screen, disappears momentarily and emerges on the other side, a reminder of how the past and present often converge.\u003c/p>\n\u003cp>As the night wound to an end, I was reminded how lucky we are in San Francisco to have a vibrant community of people who have the desire and vision to rethink the way we use public space and to do it in creative ways that engage a wide variety of people from different walks of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The event was sponsored by the \u003ca href=\"http://www.exploratorium.edu/\">Exploratorium\u003c/a> (at exploratorium.edu) and the \u003ca href=\"http://www.sfgov.org/site/mainpages_index.asp?id=12798\">San Francisco Arts Commission\u003c/a> (at sfgov.org).\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1175/a_trip_down_market_street",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1176": {
"type": "posts",
"id": "arts_1176",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1176",
"score": null,
"sort": [
1127372400000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1127372400,
"format": "standard",
"title": "Thumbsucker",
"headTitle": "Thumbsucker | KQED",
"content": "\u003cp>\u003ca href=\"http://www.apple.com/trailers/sony/thumbsucker.html\">Watch the trailer\u003c/a> (at apple.com).\u003c/p>\n\u003cp>Sometimes a movie works so well, surrounds you so completely, it creates a safe, womb-like bubble. It is all-encompassing while the movie unfolds; difficult to extricate yourself from when the film ends and nearly impossible to reflect on afterward. \u003cb>Thumbsucker\u003c/b>, Mike Mills’ funny, gentle, intelligent and (so very) warm feature film debut continued to radiate long after the movie screen went dark. A week later, I can still feel the glow.\u003c/p>\n\u003cp>Yes, at its most basic level, \u003cb>Thumbsucker\u003c/b> is a coming-of-age story about a 17-year-old boy who sucks his thumb. It is about the effect Justin Cobb’s (Lou Pucci) thumb sucking has on his family and how it affects his interactions with other kids at school. But more than that, it is about each character’s unique experience of their shared reality. Their overlapping perceptions create a complex mix of tangled emotions, expectations and delusions, each bumping into and subtly changing the other. \u003cb>Thumbsucker\u003c/b> is about private anxieties and disappointments, and the secret hopes and realizations we dare not share (even with ourselves).\u003c/p>\n\u003cp>As Justin stumbles toward adulthood, he undergoes a host of approaches to help him “give up the thumb.” He is surrounded by caring and intelligent adults who are forced to face their own very personal insecurities as they assist him in overcoming his own. Justin’s father, Mike (Vincent D’Onofrio) shames; his mother, Audrey (Tilda Swinton) cajoles; a “guru orthodontist” (Keanu Reaves) hypnotizes him. Finally, the faculty at Justin’s high school (including Vince Vaughan as the debate coach, who, like all the other actors, is incredibly grounded and funny and real) suggests ADHD medication, which makes him into a keenly-focused monster, who joins the debate team and becomes a master manipulator.\u003c/p>\n\u003cp>The film perfectly captures the narcotic drift of an upscale suburb in the Pacific Northwest. The town is covered with the signifiers of prosperity and sprawl, new cement house pads and unfinished construction sites dot the landscape. Interiors are thick, beige and overstuffed — it is the comfort of the lost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Thumbsucker\u003c/b> is made up of one subtle, perfectly-rendered moment after another — of complex interpersonal relationships that get more mangled, manic, and emotional as the film moves humorously forward.\u003c/p>\n\u003cp>The story of a boy trying to give up his “security blanket” reminded me how much I seek comfort in films. I use them as a refuge, as narcotics, as a place to be overcome with laughter, to give myself freely to tears. You get both with this film as characters struggle to live without answers and one family lets go of its first born, after shepherding him into adulthood.\u003c/p>\n\u003cp>Also, it’s pretty amazing that someone found a way to make use of the Polyphonic Spree. As a band, I cannot stomach them. The cult choir, chanting banal pronouncements of joy designed to inspire the same in listeners, is more irritating than inspirational. But \u003cb>Thumbsucker\u003c/b> makes good use of their sound, which perfectly expresses the manic joy of a teenager on speed (um, Ritalin) and their treacle is counter-balanced with a healthy dose of tunes by Elliott Smith, indie rock’s infamous depressive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Thumbsucker\u003c/b> opens September 23.\u003cbr>\u003ca href=\"http://www.sfgate.com/movies/playing/\">Get theaters and show times\u003c/a> (at sfgate.com).\u003cbr>\u003ca href=\"http://www.imdb.com/title/tt0318761/\">IMDB entry for this movie\u003c/a>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 569,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705053954,
"excerpt": "\u003ca href=\"http://www.apple.com/trailers/sony/thumbsucker.html\">Watch the trailer\u003c/a> (at apple.com).",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Watch the trailer (at apple.com).",
"title": "Thumbsucker | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Thumbsucker",
"datePublished": "2005-09-22T00:00:00-07:00",
"dateModified": "2024-01-12T02:05:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "thumbsucker",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/1176/thumbsucker",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.apple.com/trailers/sony/thumbsucker.html\">Watch the trailer\u003c/a> (at apple.com).\u003c/p>\n\u003cp>Sometimes a movie works so well, surrounds you so completely, it creates a safe, womb-like bubble. It is all-encompassing while the movie unfolds; difficult to extricate yourself from when the film ends and nearly impossible to reflect on afterward. \u003cb>Thumbsucker\u003c/b>, Mike Mills’ funny, gentle, intelligent and (so very) warm feature film debut continued to radiate long after the movie screen went dark. A week later, I can still feel the glow.\u003c/p>\n\u003cp>Yes, at its most basic level, \u003cb>Thumbsucker\u003c/b> is a coming-of-age story about a 17-year-old boy who sucks his thumb. It is about the effect Justin Cobb’s (Lou Pucci) thumb sucking has on his family and how it affects his interactions with other kids at school. But more than that, it is about each character’s unique experience of their shared reality. Their overlapping perceptions create a complex mix of tangled emotions, expectations and delusions, each bumping into and subtly changing the other. \u003cb>Thumbsucker\u003c/b> is about private anxieties and disappointments, and the secret hopes and realizations we dare not share (even with ourselves).\u003c/p>\n\u003cp>As Justin stumbles toward adulthood, he undergoes a host of approaches to help him “give up the thumb.” He is surrounded by caring and intelligent adults who are forced to face their own very personal insecurities as they assist him in overcoming his own. Justin’s father, Mike (Vincent D’Onofrio) shames; his mother, Audrey (Tilda Swinton) cajoles; a “guru orthodontist” (Keanu Reaves) hypnotizes him. Finally, the faculty at Justin’s high school (including Vince Vaughan as the debate coach, who, like all the other actors, is incredibly grounded and funny and real) suggests ADHD medication, which makes him into a keenly-focused monster, who joins the debate team and becomes a master manipulator.\u003c/p>\n\u003cp>The film perfectly captures the narcotic drift of an upscale suburb in the Pacific Northwest. The town is covered with the signifiers of prosperity and sprawl, new cement house pads and unfinished construction sites dot the landscape. Interiors are thick, beige and overstuffed — it is the comfort of the lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Thumbsucker\u003c/b> is made up of one subtle, perfectly-rendered moment after another — of complex interpersonal relationships that get more mangled, manic, and emotional as the film moves humorously forward.\u003c/p>\n\u003cp>The story of a boy trying to give up his “security blanket” reminded me how much I seek comfort in films. I use them as a refuge, as narcotics, as a place to be overcome with laughter, to give myself freely to tears. You get both with this film as characters struggle to live without answers and one family lets go of its first born, after shepherding him into adulthood.\u003c/p>\n\u003cp>Also, it’s pretty amazing that someone found a way to make use of the Polyphonic Spree. As a band, I cannot stomach them. The cult choir, chanting banal pronouncements of joy designed to inspire the same in listeners, is more irritating than inspirational. But \u003cb>Thumbsucker\u003c/b> makes good use of their sound, which perfectly expresses the manic joy of a teenager on speed (um, Ritalin) and their treacle is counter-balanced with a healthy dose of tunes by Elliott Smith, indie rock’s infamous depressive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Thumbsucker\u003c/b> opens September 23.\u003cbr>\u003ca href=\"http://www.sfgate.com/movies/playing/\">Get theaters and show times\u003c/a> (at sfgate.com).\u003cbr>\u003ca href=\"http://www.imdb.com/title/tt0318761/\">IMDB entry for this movie\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1176/thumbsucker",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1178": {
"type": "posts",
"id": "arts_1178",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1178",
"score": null,
"sort": [
1127203200000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1127203200,
"format": "standard",
"title": "Kontroll",
"headTitle": "Kontroll | KQED",
"content": "\u003cp>\u003cb>Kontroll\u003c/b> DVD released August 30, 2005.\u003cbr>\u003ca href=\"http://www.apple.com/trailers/independent/kontroll.html\">Watch the trailer\u003c/a> (at apple.com).\u003c/p>\n\u003cp>I’m a pain in the ass to rent movies with. My friends can tell you that many a movie night has been spent wandering the video store with me as I shoot down suggestion after suggestion because a) I have seen it, b) I’ve read a clutch of reviews that panned it, or c) I’m dead sure it would make for a horrible group viewing experience.\u003c/p>\n\u003cp>So it was with some trepidation that my pal Steve went on his lonesome to the superb \u003ca href=\"http://sanfrancisco.citysearch.com/profile/890509/san_francisco_ca/lost_weekend_video.html\">Lost Weekend Video\u003c/a> last Thursday to pick up our night’s entertainment. A group of friends, several of whom are serious movie buffs, were converging on Steve’s house — and his nifty new home theater — for a night of snooty flickifying and heckling from the back rows. “Just pick something,” I told Steve. “I’m trying to reform my ways. I will happily keep my mouth shut and watch whatever you bring back.”\u003c/p>\n\u003cp>“I’m hardly a connoisseur,” Steve muttered as he returned, DVD in hand. He didn’t need the disclaimer. He had done well.\u003c/p>\n\u003cp>My exercise in giving up control of movie night had yielded a wonderful, unexpected Hungarian film titled, ironically, \u003cb>Kontroll\u003c/b>. Why this little gem of a movie had sparkled on the vid store shelf only Steve can say. It not only made for a great group picture (even holding up under the typical, incessant barrage of jokes from our mini peanut gallery), its images and energy are still with me days later. Co-written (with Jim Adler) by young, American-born director Nimród Antal, the movie is a visual stunner, packed with more creativity than the last half-dozen Hollywood movies I’ve sat through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an alternate reality set entirely in the catacombs of the Budapest subway system, the melancholy Bulcsú (Sándor Csányi), and his grungy pals form a team of down-and-out ticket inspectors (“kontrollers”), who ride the rails all day, demanding that passengers show proof that they have indeed paid the fare. They are weaponless, uniformless (except for their tattered red arm bands) and they command no authority whatsoever. They are the meter maids of the system — bullied and disrespected by everyone they approach, from leather-clad biker pimps to gypsy witches who curse them by blowing magic powder in their faces. The joke here, of course, is that the kontrollers have no real control over anything. They are regularly pummeled and spat upon by the very people they seek to control.\u003c/p>\n\u003cp>What’s worse, out of all the competing kontroller teams (and they do compete, at times with violent results), Bulcsú’s is the worst. They’re the sad sacks, the bottom of the heap, the scorn of the entire kontroller force — drunks and screw-ups and narcoleptics. Meanwhile, some creepy guy in a hood is going about pushing people in front of trains — and Bulcsú keeps running into a girl dressed in a fluffy pink teddy bear outfit. Strange goings-on indeed.\u003c/p>\n\u003cp>Equal parts actioner, mood piece, thriller and comedy, the movie has a slam-bang pace with judiciously sprinkled quiet, thoughtful, moving and, yes, very eerie moments. The characters are often funny and bizarre, with a few cast members sporting misshapen mugs worthy of a Fellini flick.\u003c/p>\n\u003cp>\u003cb>Kontroll\u003c/b> opens with a strange blessing from a Hungarian transit official, explaining why the filmmakers were allowed to shoot in the Budapest subway system, and taking pains to say that, as it is portrayed, this is a largely fictional world. But what a visually arresting world it is. The sets are not sets at all, just brilliantly selected existing locations within what seems to be a vast, dark, almost dystopian subway system.\u003c/p>\n\u003cp>The movie was shot at night, when the subway is normally empty, and although there are plenty of scenes with rush hour crowds, the most gorgeous shots take advantage of massive, unpopulated underground spaces: escalators that seem to go on forever, miles of cable-covered tunnels that look like the innards of an alien spacecraft, empty tiled train platforms with row upon row of flickering fluorescent lights. The subway is like a city underground. Not once do we get a glimpse of the world above. In fact, one character even sleeps in the subway each night after the last trains have passed through and the passengers are all gone.\u003c/p>\n\u003cp>In a fashion typical of European alterna-flicks (and impossible, it seems, for Hollywood), \u003cb>Kontroll\u003c/b> leaves some of its biggest mysteries unsolved, but with enough clever ambiguity that our movie night ended — as the best movie nights do — with some spirited discussion about what we had just seen and what it all meant.\u003c/p>\n\u003cp>It’s always a delight when you stumble across a movie that can rekindle your faith in the medium itself. Yes, I had given up control over movie night — and it was a liberating experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0373981/\">IMDB entry for this movie\u003c/a>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 871,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705053956,
"excerpt": "\u003cb>Kontroll\u003c/b> DVD released August 30, 2005.\u003cbr />\u003ca href=\"http://www.apple.com/trailers/independent/kontroll.html\">Watch the trailer\u003c/a> (at apple.com).",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Kontroll DVD released August 30, 2005.Watch the trailer (at apple.com).",
"title": "Kontroll | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kontroll",
"datePublished": "2005-09-20T01:00:00-07:00",
"dateModified": "2024-01-12T02:05:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kontroll",
"status": "publish",
"sticky": false,
"path": "/arts/1178/kontroll",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Kontroll\u003c/b> DVD released August 30, 2005.\u003cbr>\u003ca href=\"http://www.apple.com/trailers/independent/kontroll.html\">Watch the trailer\u003c/a> (at apple.com).\u003c/p>\n\u003cp>I’m a pain in the ass to rent movies with. My friends can tell you that many a movie night has been spent wandering the video store with me as I shoot down suggestion after suggestion because a) I have seen it, b) I’ve read a clutch of reviews that panned it, or c) I’m dead sure it would make for a horrible group viewing experience.\u003c/p>\n\u003cp>So it was with some trepidation that my pal Steve went on his lonesome to the superb \u003ca href=\"http://sanfrancisco.citysearch.com/profile/890509/san_francisco_ca/lost_weekend_video.html\">Lost Weekend Video\u003c/a> last Thursday to pick up our night’s entertainment. A group of friends, several of whom are serious movie buffs, were converging on Steve’s house — and his nifty new home theater — for a night of snooty flickifying and heckling from the back rows. “Just pick something,” I told Steve. “I’m trying to reform my ways. I will happily keep my mouth shut and watch whatever you bring back.”\u003c/p>\n\u003cp>“I’m hardly a connoisseur,” Steve muttered as he returned, DVD in hand. He didn’t need the disclaimer. He had done well.\u003c/p>\n\u003cp>My exercise in giving up control of movie night had yielded a wonderful, unexpected Hungarian film titled, ironically, \u003cb>Kontroll\u003c/b>. Why this little gem of a movie had sparkled on the vid store shelf only Steve can say. It not only made for a great group picture (even holding up under the typical, incessant barrage of jokes from our mini peanut gallery), its images and energy are still with me days later. Co-written (with Jim Adler) by young, American-born director Nimród Antal, the movie is a visual stunner, packed with more creativity than the last half-dozen Hollywood movies I’ve sat through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an alternate reality set entirely in the catacombs of the Budapest subway system, the melancholy Bulcsú (Sándor Csányi), and his grungy pals form a team of down-and-out ticket inspectors (“kontrollers”), who ride the rails all day, demanding that passengers show proof that they have indeed paid the fare. They are weaponless, uniformless (except for their tattered red arm bands) and they command no authority whatsoever. They are the meter maids of the system — bullied and disrespected by everyone they approach, from leather-clad biker pimps to gypsy witches who curse them by blowing magic powder in their faces. The joke here, of course, is that the kontrollers have no real control over anything. They are regularly pummeled and spat upon by the very people they seek to control.\u003c/p>\n\u003cp>What’s worse, out of all the competing kontroller teams (and they do compete, at times with violent results), Bulcsú’s is the worst. They’re the sad sacks, the bottom of the heap, the scorn of the entire kontroller force — drunks and screw-ups and narcoleptics. Meanwhile, some creepy guy in a hood is going about pushing people in front of trains — and Bulcsú keeps running into a girl dressed in a fluffy pink teddy bear outfit. Strange goings-on indeed.\u003c/p>\n\u003cp>Equal parts actioner, mood piece, thriller and comedy, the movie has a slam-bang pace with judiciously sprinkled quiet, thoughtful, moving and, yes, very eerie moments. The characters are often funny and bizarre, with a few cast members sporting misshapen mugs worthy of a Fellini flick.\u003c/p>\n\u003cp>\u003cb>Kontroll\u003c/b> opens with a strange blessing from a Hungarian transit official, explaining why the filmmakers were allowed to shoot in the Budapest subway system, and taking pains to say that, as it is portrayed, this is a largely fictional world. But what a visually arresting world it is. The sets are not sets at all, just brilliantly selected existing locations within what seems to be a vast, dark, almost dystopian subway system.\u003c/p>\n\u003cp>The movie was shot at night, when the subway is normally empty, and although there are plenty of scenes with rush hour crowds, the most gorgeous shots take advantage of massive, unpopulated underground spaces: escalators that seem to go on forever, miles of cable-covered tunnels that look like the innards of an alien spacecraft, empty tiled train platforms with row upon row of flickering fluorescent lights. The subway is like a city underground. Not once do we get a glimpse of the world above. In fact, one character even sleeps in the subway each night after the last trains have passed through and the passengers are all gone.\u003c/p>\n\u003cp>In a fashion typical of European alterna-flicks (and impossible, it seems, for Hollywood), \u003cb>Kontroll\u003c/b> leaves some of its biggest mysteries unsolved, but with enough clever ambiguity that our movie night ended — as the best movie nights do — with some spirited discussion about what we had just seen and what it all meant.\u003c/p>\n\u003cp>It’s always a delight when you stumble across a movie that can rekindle your faith in the medium itself. Yes, I had given up control over movie night — and it was a liberating experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0373981/\">IMDB entry for this movie\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1178/kontroll",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1179": {
"type": "posts",
"id": "arts_1179",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1179",
"score": null,
"sort": [
1127122920000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1127122920,
"format": "standard",
"title": "Resfest",
"headTitle": "Resfest | KQED",
"content": "\u003cp>As a medium, the short form invites experimentation, allowing filmmakers the opportunity to break away from the rigid confines of narrative filmmaking and expand the visual language of cinema. The form also offers filmmakers the opportunity to develop their unique aesthetic and voice without going bankrupt making a feature. Resfest, which rolls into town this week (September 21-25), has always been an incredible proponent of the short form and of cutting-edge digital filmmaking.\u003c/p>\n\u003cp>Although, initially part of the digital boom that swept the filmmaking world in the late ’90s, Resfest has managed to move beyond the glory days of the Dot-Com era and deliver a globe-trotting festival showcasing nine programs of short films from around the world, ground-breaking music videos, and Mike Mill’s first feature film \u003cb>Thumbsucker\u003c/b> (see review later this week).\u003c/p>\n\u003cp>Unlike feature films, which are accompanied by plenty of publicity and orchestrated hoopla, short films usually exist with no past, waiting to be discovered by an audience. As the lights dimmed during the \u003cb>Resfest\u003c/b> screening, I longed to unearth a short film that defied my expectations and to discover a new filmmaker whose work I could look forward to in the future. I was both pleased and surprised to find that two of my favorite films were by Bay Area filmmakers and one was by a former resident.\u003c/p>\n\u003cp>At first glance local filmmaker, John Hardin’s \u003cb>La Vie D’un Chien\u003c/b> is the kind of movie making, I usually dislike. The visual aesthetic and structure is a direct spoof of Chris Marker’s legendary \u003cb>La Jetée\u003c/b>, a film about memory, love, loss, fate and the rampant power of a totalitarian state. The original is shot entirely using stark black and white still photographs, with only a single moment of movement, as a young woman’s eyes flutter open from the depths of a dream. Poignant, romantic and deeply political, \u003cb>La Jetée\u003c/b> is a brilliantly executed film with an innovative style and structure.\u003c/p>\n\u003cp>Despite my usual aversion to spoofs and a deep reverence for the original film, I ended up laughing along with \u003cb>La Vie D’un Chien\u003c/b>. The piece is so sincere and complete that it moves beyond simple parody and stands alone as an incredibly humorous and well-crafted movie. It still manages to convey some of the political undercurrent of the original, but with a heaping dose of bawdy humor. I don’t want to give away too much of the narrative, but the story revolves around a young scientist who develops the K-9 formula, a drug that allows people to leave behind their repressed existence as human beings, transform into dogs and run unabashedly wild through the streets of Paris at night. Meanwhile, amidst the intrigue of secret formulas and repressive governments, the young scientist falls in love and is ultimately willing to risk life and limb for his true love. xoxoxo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In another locally produced film, \u003cb>America’s Biggest Dick\u003c/b>, filmmaker Bryan Boyce utilizes a brilliant sense of comic timing, found news footage (courtesy of Fox News), deft editing and low-end digital effects to create a biting political commentary about our diabolical second in command, Dick Cheney. Boyce re-contextualizes the speech given by the Vice President at the 2004 Republican National Convention by superimposing another man’s mouth onto Cheney’s and replacing his empty rhetoric with Al Pacino’s dialogue from Brian De Palma’s \u003cb>Scarface\u003c/b>. The speech he gives is shockingly fitting for the Vice President and ultimately more honest. \u003cb>America’s Biggest Dick\u003c/b>, once again proves that no budget, simple technology and a lot of ingenuity can produce a really strong film.\u003c/p>\n\u003cp>The featured keynote speaker at Resfest, Mike Mills, began his career designing album covers, went on to direct music videos for Air and is opening the festival with a screening of his first feature film \u003cb>Thumbsucker\u003c/b>. In an early short work, \u003cb>The Architecture of Reassurance\u003c/b>, Mills embraces the narrative form with a unique sensibility and a sweetly self-conscious style. Although clunky at times, the film establishes Mills’ talent at evoking a strong mood without relying on the clichés of conventional narrative filmmaking and his ability to integrate documentary elements into the heart of a short narrative.\u003c/p>\n\u003cp>Told through the perspective of an adolescent girl reminiscent of Alice (from \u003cb>Alice in Wonderland\u003c/b>), The \u003cb>Architecture of Reassurance\u003c/b> critiques the perfection and plasticity of the suburban milieu. As Alice wanders the streets, she longs so badly to fit into the nondescript suburban neighborhood that she can’t see past the façade of perfection to the loneliness, isolation and forced conformity that peeks out from behind the surface of flawlessly uniform structures and matching cars. Ultimately, the neighbors realize Alice does not belong and, as in all fairytales, she is banished. There is no place for an outsider in the perfect suburban world.\u003c/p>\n\u003cp>This is just a sampling of the over 150 films that will be screening at \u003cb>Resfest\u003c/b> between September 21-25 at the Metreon (opening night only) and Palace of Fine Arts Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For a complete schedule of screenings visit \u003ca href=\"http://www.resfest.com/index.php?page=city-schedule&name=San%20Francisco\">Resfest\u003c/a> (at Resfest.com).\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 879,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705053957,
"excerpt": "As a medium, the short form invites experimentation, allowing filmmakers the opportunity to break away from the rigid confines of narrative filmmaking and expand the visual language of cinema. The form also offers filmmakers the opportunity to develop their unique aesthetic and voice without going bankrupt making a feature. Resfest, which rolls into town this week (September 21-25), has always been an incredible proponent of the short form and of cutting-edge digital filmmaking.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As a medium, the short form invites experimentation, allowing filmmakers the opportunity to break away from the rigid confines of narrative filmmaking and expand the visual language of cinema. The form also offers filmmakers the opportunity to develop their unique aesthetic and voice without going bankrupt making a feature. Resfest, which rolls into town this week (September 21-25), has always been an incredible proponent of the short form and of cutting-edge digital filmmaking.",
"title": "Resfest | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Resfest",
"datePublished": "2005-09-19T02:42:00-07:00",
"dateModified": "2024-01-12T02:05:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "resfest",
"status": "publish",
"sticky": false,
"path": "/arts/1179/resfest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a medium, the short form invites experimentation, allowing filmmakers the opportunity to break away from the rigid confines of narrative filmmaking and expand the visual language of cinema. The form also offers filmmakers the opportunity to develop their unique aesthetic and voice without going bankrupt making a feature. Resfest, which rolls into town this week (September 21-25), has always been an incredible proponent of the short form and of cutting-edge digital filmmaking.\u003c/p>\n\u003cp>Although, initially part of the digital boom that swept the filmmaking world in the late ’90s, Resfest has managed to move beyond the glory days of the Dot-Com era and deliver a globe-trotting festival showcasing nine programs of short films from around the world, ground-breaking music videos, and Mike Mill’s first feature film \u003cb>Thumbsucker\u003c/b> (see review later this week).\u003c/p>\n\u003cp>Unlike feature films, which are accompanied by plenty of publicity and orchestrated hoopla, short films usually exist with no past, waiting to be discovered by an audience. As the lights dimmed during the \u003cb>Resfest\u003c/b> screening, I longed to unearth a short film that defied my expectations and to discover a new filmmaker whose work I could look forward to in the future. I was both pleased and surprised to find that two of my favorite films were by Bay Area filmmakers and one was by a former resident.\u003c/p>\n\u003cp>At first glance local filmmaker, John Hardin’s \u003cb>La Vie D’un Chien\u003c/b> is the kind of movie making, I usually dislike. The visual aesthetic and structure is a direct spoof of Chris Marker’s legendary \u003cb>La Jetée\u003c/b>, a film about memory, love, loss, fate and the rampant power of a totalitarian state. The original is shot entirely using stark black and white still photographs, with only a single moment of movement, as a young woman’s eyes flutter open from the depths of a dream. Poignant, romantic and deeply political, \u003cb>La Jetée\u003c/b> is a brilliantly executed film with an innovative style and structure.\u003c/p>\n\u003cp>Despite my usual aversion to spoofs and a deep reverence for the original film, I ended up laughing along with \u003cb>La Vie D’un Chien\u003c/b>. The piece is so sincere and complete that it moves beyond simple parody and stands alone as an incredibly humorous and well-crafted movie. It still manages to convey some of the political undercurrent of the original, but with a heaping dose of bawdy humor. I don’t want to give away too much of the narrative, but the story revolves around a young scientist who develops the K-9 formula, a drug that allows people to leave behind their repressed existence as human beings, transform into dogs and run unabashedly wild through the streets of Paris at night. Meanwhile, amidst the intrigue of secret formulas and repressive governments, the young scientist falls in love and is ultimately willing to risk life and limb for his true love. xoxoxo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In another locally produced film, \u003cb>America’s Biggest Dick\u003c/b>, filmmaker Bryan Boyce utilizes a brilliant sense of comic timing, found news footage (courtesy of Fox News), deft editing and low-end digital effects to create a biting political commentary about our diabolical second in command, Dick Cheney. Boyce re-contextualizes the speech given by the Vice President at the 2004 Republican National Convention by superimposing another man’s mouth onto Cheney’s and replacing his empty rhetoric with Al Pacino’s dialogue from Brian De Palma’s \u003cb>Scarface\u003c/b>. The speech he gives is shockingly fitting for the Vice President and ultimately more honest. \u003cb>America’s Biggest Dick\u003c/b>, once again proves that no budget, simple technology and a lot of ingenuity can produce a really strong film.\u003c/p>\n\u003cp>The featured keynote speaker at Resfest, Mike Mills, began his career designing album covers, went on to direct music videos for Air and is opening the festival with a screening of his first feature film \u003cb>Thumbsucker\u003c/b>. In an early short work, \u003cb>The Architecture of Reassurance\u003c/b>, Mills embraces the narrative form with a unique sensibility and a sweetly self-conscious style. Although clunky at times, the film establishes Mills’ talent at evoking a strong mood without relying on the clichés of conventional narrative filmmaking and his ability to integrate documentary elements into the heart of a short narrative.\u003c/p>\n\u003cp>Told through the perspective of an adolescent girl reminiscent of Alice (from \u003cb>Alice in Wonderland\u003c/b>), The \u003cb>Architecture of Reassurance\u003c/b> critiques the perfection and plasticity of the suburban milieu. As Alice wanders the streets, she longs so badly to fit into the nondescript suburban neighborhood that she can’t see past the façade of perfection to the loneliness, isolation and forced conformity that peeks out from behind the surface of flawlessly uniform structures and matching cars. Ultimately, the neighbors realize Alice does not belong and, as in all fairytales, she is banished. There is no place for an outsider in the perfect suburban world.\u003c/p>\n\u003cp>This is just a sampling of the over 150 films that will be screening at \u003cb>Resfest\u003c/b> between September 21-25 at the Metreon (opening night only) and Palace of Fine Arts Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For a complete schedule of screenings visit \u003ca href=\"http://www.resfest.com/index.php?page=city-schedule&name=San%20Francisco\">Resfest\u003c/a> (at Resfest.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1179/resfest",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1180": {
"type": "posts",
"id": "arts_1180",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1180",
"score": null,
"sort": [
1126731840000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1126731840,
"format": "standard",
"title": "Santa Cruz Guerilla Drive-In",
"headTitle": "Santa Cruz Guerilla Drive-In | KQED",
"content": "\u003cp>So now you know my bias. I’m happy to report that here in Santa Cruz, we’ve got one of the best ones around, and I only had to travel a tenth of a mile from my house to find it. It’s an outdoor screening series called the \u003ca href=\"http://www.thespoon.com/drivein/\">Santa Cruz Guerilla Drive-In\u003c/a> (at thespoon.com), and the name pretty much speaks for itself (though most people ride up on bikes and trek in on foot, so it could just as easily be called the Guerilla Walk-In). Every other Friday throughout the summer, the GDI springs up unexpectedly in the fields and industrial wastelands of our fair city. The organizers mix their love of film with a mission to reclaim public space, hoping to “transform our urban environment into the joyful playground it should be.” The films run the gamut — this summer they’ve shown everything from \u003cb>Chicken Run\u003c/b> to \u003cb>Dark Days\u003c/b> with a lot of snarky shorts in between. Oh, and have I mentioned the best part yet? It’s FREE. A hat gets passed at intermission for contributions toward necessities like spare projector bulbs, but no one looked askance at the broke-beyond-belief guy sitting next to me who sheepishly waved at the hat mumbling “I’m living in my car right now” (my date pitched in $5 on his behalf).\u003c/p>\n\u003cp>City officials have chased the GDI off of several spots, many of which are excellent venues for alfresco cinema and are not being used for anything else — the underside of a footbridge, for example, or the concrete wall of a shut-down public works project. This past Friday, the venue was the side of an industrial building in a remote railroad shipyard. The projection equipment was set up on the rocky moraine of the tracks, and run off of an extension cord grabbing power from a neighboring winery’s storage facility. The video projector was carefully balanced on the raised track at the perfect tilt to throw a 30 foot image onto the side of a random building across the way. Speakers faced us; a pile of components were stacked on top of one another — I assume a DVD player, VCR, mixing deck and the like, but it was a little too dark to make them all out. The producer in me kept fretting about what would happen if a train came whizzing by, but no one else seemed concerned, so I burrowed under my blanket, nipped at my paper cup full of wine, and watched the fading sun set through a tangle of electrical wires.\u003c/p>\n\u003cp>Crowds assemble for the GDI by word of mouth, fliers and e-mail blasts that go out a few days before the next screening. The films, while always fun, are almost beside the point for a lot of folks who come. It’s more about the experience, the sense of rebelliousness and spontaneity, of creating a “happening.” There’s an appealing camaraderie too, especially when you’re hunkered down against the cold and fog sharing homemade popcorn, storebought cookies, and the occasional spliff with a bunch of like-minded cinema adventurers. There were probably 60 of us there this past Friday to see a documentary about an obscure island in the South Pacific and the eco-revolution waged by its natives against the military-industrial complex of Papua New Guinea and its partner in crime, Australia. \u003cb>Coconut Revolution\u003c/b> was all the things a good socio-political documentary should be: surprising, informative, inspiring, and blessedly concise. It was preceded by a bunch of hilarious shorts “approved for subversive audiences.” A few of them were pixilated, probably overcompressed during their download from the web, but no one minded much. My favorite moment was when a homeless guy wandered down the railroad tracks with a bottle in one hand and his belongings slung over his shoulder. He was stunned when he came across our group, but was very polite about not stepping in front of the projector. Instead, he gingerly tiptoed over the power cables, spread out his sleeping bag, and joined in the fun.\u003c/p>\n\u003cp>Santa Cruz Guerilla Drive-In is next showing \u003cb>Monty Python and the Holy Grail\u003c/b> on Friday, September 16th.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 726,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705053959,
"excerpt": "City officials have chased the GDI off of several spots, many of which are excellent venues for alfresco cinema and are not being used for anything else -- the underside of a footbridge, for example, or the concrete wall of a shut-down public works project. This past Friday, the venue was the side of an industrial building in a remote railroad shipyard. The projection equipment was set up on the rocky moraine of the tracks, and run off of an extension cord grabbing power from a neighboring winery's storage facility. The video projector was carefully balanced on the raised track at the perfect tilt to throw a 30 foot image onto the side of a random building across the way. Speakers faced us; a pile of components were stacked on top of one another -- I assume a DVD player, VCR, mixing deck and the like, but it was a little too dark to make them all out. The producer in me kept fretting about what would happen if a train came whizzing by, but no one else seemed concerned, so I burrowed under my blanket, nipped at my paper cup full of wine, and watched the fading sun set through a tangle of electrical wires.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "City officials have chased the GDI off of several spots, many of which are excellent venues for alfresco cinema and are not being used for anything else -- the underside of a footbridge, for example, or the concrete wall of a shut-down public works project. This past Friday, the venue was the side of an industrial building in a remote railroad shipyard. The projection equipment was set up on the rocky moraine of the tracks, and run off of an extension cord grabbing power from a neighboring winery's storage facility. The video projector was carefully balanced on the raised track at the perfect tilt to throw a 30 foot image onto the side of a random building across the way. Speakers faced us; a pile of components were stacked on top of one another -- I assume a DVD player, VCR, mixing deck and the like, but it was a little too dark to make them all out. The producer in me kept fretting about what would happen if a train came whizzing by, but no one else seemed concerned, so I burrowed under my blanket, nipped at my paper cup full of wine, and watched the fading sun set through a tangle of electrical wires.",
"title": "Santa Cruz Guerilla Drive-In | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Santa Cruz Guerilla Drive-In",
"datePublished": "2005-09-14T14:04:00-07:00",
"dateModified": "2024-01-12T02:05:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "santa_cruz_guerilla_drivein",
"status": "publish",
"sticky": false,
"path": "/arts/1180/santa_cruz_guerilla_drivein",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So now you know my bias. I’m happy to report that here in Santa Cruz, we’ve got one of the best ones around, and I only had to travel a tenth of a mile from my house to find it. It’s an outdoor screening series called the \u003ca href=\"http://www.thespoon.com/drivein/\">Santa Cruz Guerilla Drive-In\u003c/a> (at thespoon.com), and the name pretty much speaks for itself (though most people ride up on bikes and trek in on foot, so it could just as easily be called the Guerilla Walk-In). Every other Friday throughout the summer, the GDI springs up unexpectedly in the fields and industrial wastelands of our fair city. The organizers mix their love of film with a mission to reclaim public space, hoping to “transform our urban environment into the joyful playground it should be.” The films run the gamut — this summer they’ve shown everything from \u003cb>Chicken Run\u003c/b> to \u003cb>Dark Days\u003c/b> with a lot of snarky shorts in between. Oh, and have I mentioned the best part yet? It’s FREE. A hat gets passed at intermission for contributions toward necessities like spare projector bulbs, but no one looked askance at the broke-beyond-belief guy sitting next to me who sheepishly waved at the hat mumbling “I’m living in my car right now” (my date pitched in $5 on his behalf).\u003c/p>\n\u003cp>City officials have chased the GDI off of several spots, many of which are excellent venues for alfresco cinema and are not being used for anything else — the underside of a footbridge, for example, or the concrete wall of a shut-down public works project. This past Friday, the venue was the side of an industrial building in a remote railroad shipyard. The projection equipment was set up on the rocky moraine of the tracks, and run off of an extension cord grabbing power from a neighboring winery’s storage facility. The video projector was carefully balanced on the raised track at the perfect tilt to throw a 30 foot image onto the side of a random building across the way. Speakers faced us; a pile of components were stacked on top of one another — I assume a DVD player, VCR, mixing deck and the like, but it was a little too dark to make them all out. The producer in me kept fretting about what would happen if a train came whizzing by, but no one else seemed concerned, so I burrowed under my blanket, nipped at my paper cup full of wine, and watched the fading sun set through a tangle of electrical wires.\u003c/p>\n\u003cp>Crowds assemble for the GDI by word of mouth, fliers and e-mail blasts that go out a few days before the next screening. The films, while always fun, are almost beside the point for a lot of folks who come. It’s more about the experience, the sense of rebelliousness and spontaneity, of creating a “happening.” There’s an appealing camaraderie too, especially when you’re hunkered down against the cold and fog sharing homemade popcorn, storebought cookies, and the occasional spliff with a bunch of like-minded cinema adventurers. There were probably 60 of us there this past Friday to see a documentary about an obscure island in the South Pacific and the eco-revolution waged by its natives against the military-industrial complex of Papua New Guinea and its partner in crime, Australia. \u003cb>Coconut Revolution\u003c/b> was all the things a good socio-political documentary should be: surprising, informative, inspiring, and blessedly concise. It was preceded by a bunch of hilarious shorts “approved for subversive audiences.” A few of them were pixilated, probably overcompressed during their download from the web, but no one minded much. My favorite moment was when a homeless guy wandered down the railroad tracks with a bottle in one hand and his belongings slung over his shoulder. He was stunned when he came across our group, but was very polite about not stepping in front of the projector. Instead, he gingerly tiptoed over the power cables, spread out his sleeping bag, and joined in the fun.\u003c/p>\n\u003cp>Santa Cruz Guerilla Drive-In is next showing \u003cb>Monty Python and the Holy Grail\u003c/b> on Friday, September 16th.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1180/santa_cruz_guerilla_drivein",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1181": {
"type": "posts",
"id": "arts_1181",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1181",
"score": null,
"sort": [
1126558920000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1126558920,
"format": "standard",
"title": "Interview with Ariella Ben-Dov, MadCat Women's Film Fest",
"headTitle": "Interview with Ariella Ben-Dov, MadCat Women’s Film Fest | KQED",
"content": "\u003cp>The MadCat Women’s International Film Festival has been artfully redefining the meaning of women’s filmmaking for nine years. See my \u003ca href=\"http://www.kqed.org/weblog/arts/2005/09/film-festival-madcat-womens.html\">previous post\u003c/a> for an overview of this year’s festival. I caught up with Ariella Ben-Dov the Curator and Executive Director of MadCat to talk about the history, purpose and philosophy of the festival.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> What inspired you to start the MadCat Women’s International Film Festival?\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> I had recently moved to San Francisco, and after attending numerous film festivals and local screenings, I was struck by the marginalization of avant-garde and experimental work. Subsequently, I noticed that a disproportionate number of men were being programmed at these venues. I knew this exclusion wasn’t for lack interesting work being made by women filmmakers. Now after nine years of MadCat, I have the proof.\u003c/p>\n\u003cp>I just dove in and decided to start a venue for women artists. Additionally, it was my goal to bring avant-garde and experimental work to mainstream audiences and make the work somewhat accessible by curating every program thematically.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> How did you develop an interest in avant-garde film?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> I attended Hampshire College, which placed a lot of emphasis on experimental and avant-garde cinema. I learned a lot about the history of avant-garde cinema and the history of women filmmakers. I was riveted by the work I saw. We watched every film twice and were encouraged to keep a diary about the films. This process helped me learn to understand and talk about experimental work. That was the basis of my cinema knowledge; it was the vocabulary I learned. For me it was normal to start a festival that promotes avant-garde work.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> Can you talk a little about the mission of the festival?\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> I think sometimes people assume because MadCat is a women’s film festival that it fits into a very neat category: educational films about women’s issues. We are looking for work that challenges the use of sound and image and explores notions of visual storytelling. I am looking for ways to redefine women’s issues. Our stories are vast and far reaching, and they don’t need to be confined to the stereotype of what women’s issues are. There are so many ways to tell a story. It can be a visceral experience, not just a narrative experience.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> How do you program the films?\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> The process begins with getting submissions from the open call, then researching historical films, talking to other programmers, attending film festivals, looking at festival catalogs and seeking out films to invite. It’s not that we only show films from 1910 or 2005. I don’t think films should have a shelf life of one to two years for festivals, especially short films.\u003c/p>\n\u003cp>Once the films arrive, the sifting process begins. We have a ten person screening committee that looks at the work and I look at almost everything, but with 1,500 films one person cannot look at everything.\u003c/p>\n\u003cp>Programming is an organic process and it’s really exciting for me to see what filmmakers are making and what they decide to submit. The themes for the most part come out of the submissions we receive, so it’s watching and re-watching the films and figuring out what themes are rising to the surface. Programs evolve as you see more work, and it’s a wonderfully tedious process. The hard part is having to say no to things that you love because they don’t fit into the program. You can’t just slap something at the end of the program because you love it. It won’t do the film justice and it won’t help the program.\u003c/p>\n\u003cp>Creating themes within the programs is about making unexpected connections. \u003cb>Unpacking Histories\u003c/b> is a program built around the theme of portraits of people in their environment. In one film, a prostitute tells the audience about the look and feel of the room where she spends much of her life. \u003cb>Moving Movie\u003c/b> is about a filmmaker moving to the South. She uses the sound she captures on the road to accompany images, which she develops by hand using chemicals that have been sitting in her car during the journey to her new home. Originally, I wouldn’t have thought of putting these films together, but hopefully it will make sense to the audience. They’ll be read in new ways by juxtaposing them next to each other.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> You have devoted a lot of energy in the past couple of years to screening silent films by early women filmmakers. Can you talk about your interest in bringing this work to an audience?\u003c/p>\n\u003cp>There is a long tradition of women filmmakers that has been overshadowed by a long history of male filmmakers. Women were an integral part of early cinema and that history is often forgotten. Before filmmaking became a booming industry with huge financial stakes, women played a huge role as producers, writers, editors and directors. Not a lot of people are aware of the history of early women filmmakers, so it seems appropriate for silent films to be a reoccurring theme at MadCat.\u003c/p>\n\u003cp>The exhilarating part of programming silent film screenings is collaborating with musicians invited to accompany the films. These are not the traditional piano or string instruments you expect at silent film screenings, they are melodic rock bands interpreting the films in a new and unorthodox way.\u003c/p>\n\u003cp>It can be unnerving for traditional silent film lovers, but an exciting mix of people come to the screenings. There are people who want to learn more about women’s early cinema or they recognize the filmmaker, but have never been able to see a 16mm print. Then there are people who are coming to see the band. Those people are really interesting, because they come out to see a band they like, but get the added bonus of seeing a film by Alice Guy Blache, Maya Deren, Lois Webber or Nell Shipman.\u003c/p>\n\u003cp>I have had so many people approach me after screenings and inquire about women filmmakers they had previously never heard of and often they want to learn more. It’s amazing to bring films to audiences who might not have access to this kind of work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are eleven programs at four venues screening September 13 through October 13. Check out a \u003ca href=\"http://www.madcatfilmfestival.org/festival_info.html\">full screening schedule\u003c/a> (at madcatfilmfestival.org).\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1109,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705053960,
"excerpt": "The MadCat Women's International Film Festival has been artfully redefining the meaning of women's filmmaking for nine years. See my \u003ca href=\"http://www.kqed.org/weblog/arts/2005/09/film-festival-madcat-womens.html\">previous post\u003c/a> for an overview of this year's festival. I caught up with Ariella Ben-Dov the Curator and Executive Director of MadCat to talk about the history, purpose and philosophy of the festival.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The MadCat Women's International Film Festival has been artfully redefining the meaning of women's filmmaking for nine years. See my previous post for an overview of this year's festival. I caught up with Ariella Ben-Dov the Curator and Executive Director of MadCat to talk about the history, purpose and philosophy of the festival.",
"title": "Interview with Ariella Ben-Dov, MadCat Women's Film Fest | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Interview with Ariella Ben-Dov, MadCat Women's Film Fest",
"datePublished": "2005-09-12T14:02:00-07:00",
"dateModified": "2024-01-12T02:06:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "interview_with_ariella_bendov_madcat_womens_film_fest",
"status": "publish",
"sticky": false,
"path": "/arts/1181/interview_with_ariella_bendov_madcat_womens_film_fest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The MadCat Women’s International Film Festival has been artfully redefining the meaning of women’s filmmaking for nine years. See my \u003ca href=\"http://www.kqed.org/weblog/arts/2005/09/film-festival-madcat-womens.html\">previous post\u003c/a> for an overview of this year’s festival. I caught up with Ariella Ben-Dov the Curator and Executive Director of MadCat to talk about the history, purpose and philosophy of the festival.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> What inspired you to start the MadCat Women’s International Film Festival?\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> I had recently moved to San Francisco, and after attending numerous film festivals and local screenings, I was struck by the marginalization of avant-garde and experimental work. Subsequently, I noticed that a disproportionate number of men were being programmed at these venues. I knew this exclusion wasn’t for lack interesting work being made by women filmmakers. Now after nine years of MadCat, I have the proof.\u003c/p>\n\u003cp>I just dove in and decided to start a venue for women artists. Additionally, it was my goal to bring avant-garde and experimental work to mainstream audiences and make the work somewhat accessible by curating every program thematically.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> How did you develop an interest in avant-garde film?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> I attended Hampshire College, which placed a lot of emphasis on experimental and avant-garde cinema. I learned a lot about the history of avant-garde cinema and the history of women filmmakers. I was riveted by the work I saw. We watched every film twice and were encouraged to keep a diary about the films. This process helped me learn to understand and talk about experimental work. That was the basis of my cinema knowledge; it was the vocabulary I learned. For me it was normal to start a festival that promotes avant-garde work.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> Can you talk a little about the mission of the festival?\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> I think sometimes people assume because MadCat is a women’s film festival that it fits into a very neat category: educational films about women’s issues. We are looking for work that challenges the use of sound and image and explores notions of visual storytelling. I am looking for ways to redefine women’s issues. Our stories are vast and far reaching, and they don’t need to be confined to the stereotype of what women’s issues are. There are so many ways to tell a story. It can be a visceral experience, not just a narrative experience.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> How do you program the films?\u003c/p>\n\u003cp>\u003cb>BEN-DOV:\u003c/b> The process begins with getting submissions from the open call, then researching historical films, talking to other programmers, attending film festivals, looking at festival catalogs and seeking out films to invite. It’s not that we only show films from 1910 or 2005. I don’t think films should have a shelf life of one to two years for festivals, especially short films.\u003c/p>\n\u003cp>Once the films arrive, the sifting process begins. We have a ten person screening committee that looks at the work and I look at almost everything, but with 1,500 films one person cannot look at everything.\u003c/p>\n\u003cp>Programming is an organic process and it’s really exciting for me to see what filmmakers are making and what they decide to submit. The themes for the most part come out of the submissions we receive, so it’s watching and re-watching the films and figuring out what themes are rising to the surface. Programs evolve as you see more work, and it’s a wonderfully tedious process. The hard part is having to say no to things that you love because they don’t fit into the program. You can’t just slap something at the end of the program because you love it. It won’t do the film justice and it won’t help the program.\u003c/p>\n\u003cp>Creating themes within the programs is about making unexpected connections. \u003cb>Unpacking Histories\u003c/b> is a program built around the theme of portraits of people in their environment. In one film, a prostitute tells the audience about the look and feel of the room where she spends much of her life. \u003cb>Moving Movie\u003c/b> is about a filmmaker moving to the South. She uses the sound she captures on the road to accompany images, which she develops by hand using chemicals that have been sitting in her car during the journey to her new home. Originally, I wouldn’t have thought of putting these films together, but hopefully it will make sense to the audience. They’ll be read in new ways by juxtaposing them next to each other.\u003c/p>\n\u003cp>\u003cb>Q:\u003c/b> You have devoted a lot of energy in the past couple of years to screening silent films by early women filmmakers. Can you talk about your interest in bringing this work to an audience?\u003c/p>\n\u003cp>There is a long tradition of women filmmakers that has been overshadowed by a long history of male filmmakers. Women were an integral part of early cinema and that history is often forgotten. Before filmmaking became a booming industry with huge financial stakes, women played a huge role as producers, writers, editors and directors. Not a lot of people are aware of the history of early women filmmakers, so it seems appropriate for silent films to be a reoccurring theme at MadCat.\u003c/p>\n\u003cp>The exhilarating part of programming silent film screenings is collaborating with musicians invited to accompany the films. These are not the traditional piano or string instruments you expect at silent film screenings, they are melodic rock bands interpreting the films in a new and unorthodox way.\u003c/p>\n\u003cp>It can be unnerving for traditional silent film lovers, but an exciting mix of people come to the screenings. There are people who want to learn more about women’s early cinema or they recognize the filmmaker, but have never been able to see a 16mm print. Then there are people who are coming to see the band. Those people are really interesting, because they come out to see a band they like, but get the added bonus of seeing a film by Alice Guy Blache, Maya Deren, Lois Webber or Nell Shipman.\u003c/p>\n\u003cp>I have had so many people approach me after screenings and inquire about women filmmakers they had previously never heard of and often they want to learn more. It’s amazing to bring films to audiences who might not have access to this kind of work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are eleven programs at four venues screening September 13 through October 13. Check out a \u003ca href=\"http://www.madcatfilmfestival.org/festival_info.html\">full screening schedule\u003c/a> (at madcatfilmfestival.org).\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1181/interview_with_ariella_bendov_madcat_womens_film_fest",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1182": {
"type": "posts",
"id": "arts_1182",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1182",
"score": null,
"sort": [
1125388800000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1125388800,
"format": "standard",
"title": "Reel Paradise",
"headTitle": "Reel Paradise | KQED",
"content": "\u003cp>John Pierson was a fixture on the independent film festival, lecture and teaching circuit throughout most of the eighties and nineties. This was due largely to his early involvement in the careers of Spike Lee, Kevin Smith, Richard Linklater and Michael Moore. His book \u003cb>Spike, Mike, Slackers and Dykes\u003c/b>, chronicling the rise of independent film in the late eighties and early nineties, became an instant classic. \u003cb>Split Screen\u003c/b>, the TV show John and wife Janet created and John hosted for the Independent Film Channel brought his passionate New Yorker personality (and hundreds of independent filmmakers from across the country) onto the TV sets of American homes for four seasons.\u003c/p>\n\u003cp>These are the headlines. This list of accomplishments will appear in every article written about the Piersons and the new documentary, \u003cb>Reel Paradise\u003c/b>, which chronicles the last month of the family’s year-long stay on Taveuni, one of the Fiji Islands. Here is another phrase that will most likely make its way into most articles written about the film: \u003cb>The Mosquito Coast\u003c/b> meets \u003cb>Cinema Paradiso\u003c/b>. I wouldn’t repeat it here, except that this is one instance where describing the experience of one film by citing a combination of others is just BEYOND appropriate.\u003c/p>\n\u003cp>The Pierson family lives and breathes film. John and his wife Janet met while working at Film Forum, New York’s famed West Village independent film/movie revival house. They showed a Buster Keaton film at their wedding. The family’s dinnertime arguments about film make up some of the funniest moments of \u003cb>Reel Paradise\u003c/b>. Wyatt, the Pierson’s 13-year-old son argues against the programming of anything independent, betting his father, who has devoted his life to the advancement of independent filmmaking, that audiences won’t show up for them, or if they do, it’s because their expectations have been shaped by the previous night’s screening of \u003cb>The Matrix\u003c/b>. A screening of \u003cb>Jackass\u003c/b> sparks a heated argument between Wyatt and Janet over the power of the moving image and its consequent responsibilities.\u003c/p>\n\u003cp>Indeed, the Fijian audience reaction is loud and joyous. The ridiculous pratfalls of broad Hollywood comedies delight; super-charged special effects products thrill. There has never been a better demonstration for me that the Hollywood formula that I abhor (favoring the small independent fare John Pierson has spent a life championing) actually WORKS.\u003c/p>\n\u003cp>John Pierson has turned himself into a bona fide character whose love for film has taken him to the “most remote cinema on earth” to carry out his one-man worldwide film crusade. Or is it a “one-family” crusade? Trading their home in New York for a year showing free films at the 180 Meridian Cinema on the dusty main road of a Fijian village, the entire family is challenged — and they create challenges of their own for the local population. Georgia, the Pierson’s 16-year-old daughter inspires local gossip with her freewheeling Western ways. The Piersons are shocked to discover that their dedication to showing movies for free has raised the ire of the local Catholic church.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, and someone will say this too: The Piersons are like an independent film version of the Osbornes — passionate, argumentative and a little whacky. But there is no doubting the real pleasure that (at least John and Janet) derive from all things film. Halfway through \u003cb>Reel Paradise\u003c/b>, Janet wonders how true the family’s village experience has been. To which John replies, “The cinema is my village.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Reel Paradise\u003c/b> opens September 2.\u003cbr>\u003ca href=\"http://www.sfgate.com/movies/playing/\">Get theaters and show times\u003c/a> (at sfgate.com).\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 614,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705053960,
"excerpt": "John Pierson was a fixture on the independent film festival, lecture and teaching circuit throughout most of the eighties and nineties. This was due largely to his early involvement in the careers of Spike Lee, Kevin Smith, Richard Linklater and Michael Moore. His book \u003cb>Spike, Mike, Slackers and Dykes\u003c/b>, chronicling the rise of independent film in the late eighties and early nineties, became an instant classic. \u003cb>Split Screen\u003c/b>, the TV show John and wife Janet created and John hosted for the Independent Film Channel brought his passionate New Yorker personality (and hundreds of independent filmmakers from across the country) onto the TV sets of American homes for four seasons.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "John Pierson was a fixture on the independent film festival, lecture and teaching circuit throughout most of the eighties and nineties. This was due largely to his early involvement in the careers of Spike Lee, Kevin Smith, Richard Linklater and Michael Moore. His book Spike, Mike, Slackers and Dykes, chronicling the rise of independent film in the late eighties and early nineties, became an instant classic. Split Screen, the TV show John and wife Janet created and John hosted for the Independent Film Channel brought his passionate New Yorker personality (and hundreds of independent filmmakers from across the country) onto the TV sets of American homes for four seasons.",
"title": "Reel Paradise | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Reel Paradise",
"datePublished": "2005-08-30T01:00:00-07:00",
"dateModified": "2024-01-12T02:06:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "reel_paradise",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/1182/reel_paradise",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Pierson was a fixture on the independent film festival, lecture and teaching circuit throughout most of the eighties and nineties. This was due largely to his early involvement in the careers of Spike Lee, Kevin Smith, Richard Linklater and Michael Moore. His book \u003cb>Spike, Mike, Slackers and Dykes\u003c/b>, chronicling the rise of independent film in the late eighties and early nineties, became an instant classic. \u003cb>Split Screen\u003c/b>, the TV show John and wife Janet created and John hosted for the Independent Film Channel brought his passionate New Yorker personality (and hundreds of independent filmmakers from across the country) onto the TV sets of American homes for four seasons.\u003c/p>\n\u003cp>These are the headlines. This list of accomplishments will appear in every article written about the Piersons and the new documentary, \u003cb>Reel Paradise\u003c/b>, which chronicles the last month of the family’s year-long stay on Taveuni, one of the Fiji Islands. Here is another phrase that will most likely make its way into most articles written about the film: \u003cb>The Mosquito Coast\u003c/b> meets \u003cb>Cinema Paradiso\u003c/b>. I wouldn’t repeat it here, except that this is one instance where describing the experience of one film by citing a combination of others is just BEYOND appropriate.\u003c/p>\n\u003cp>The Pierson family lives and breathes film. John and his wife Janet met while working at Film Forum, New York’s famed West Village independent film/movie revival house. They showed a Buster Keaton film at their wedding. The family’s dinnertime arguments about film make up some of the funniest moments of \u003cb>Reel Paradise\u003c/b>. Wyatt, the Pierson’s 13-year-old son argues against the programming of anything independent, betting his father, who has devoted his life to the advancement of independent filmmaking, that audiences won’t show up for them, or if they do, it’s because their expectations have been shaped by the previous night’s screening of \u003cb>The Matrix\u003c/b>. A screening of \u003cb>Jackass\u003c/b> sparks a heated argument between Wyatt and Janet over the power of the moving image and its consequent responsibilities.\u003c/p>\n\u003cp>Indeed, the Fijian audience reaction is loud and joyous. The ridiculous pratfalls of broad Hollywood comedies delight; super-charged special effects products thrill. There has never been a better demonstration for me that the Hollywood formula that I abhor (favoring the small independent fare John Pierson has spent a life championing) actually WORKS.\u003c/p>\n\u003cp>John Pierson has turned himself into a bona fide character whose love for film has taken him to the “most remote cinema on earth” to carry out his one-man worldwide film crusade. Or is it a “one-family” crusade? Trading their home in New York for a year showing free films at the 180 Meridian Cinema on the dusty main road of a Fijian village, the entire family is challenged — and they create challenges of their own for the local population. Georgia, the Pierson’s 16-year-old daughter inspires local gossip with her freewheeling Western ways. The Piersons are shocked to discover that their dedication to showing movies for free has raised the ire of the local Catholic church.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, and someone will say this too: The Piersons are like an independent film version of the Osbornes — passionate, argumentative and a little whacky. But there is no doubting the real pleasure that (at least John and Janet) derive from all things film. Halfway through \u003cb>Reel Paradise\u003c/b>, Janet wonders how true the family’s village experience has been. To which John replies, “The cinema is my village.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Reel Paradise\u003c/b> opens September 2.\u003cbr>\u003ca href=\"http://www.sfgate.com/movies/playing/\">Get theaters and show times\u003c/a> (at sfgate.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1182/reel_paradise",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1183": {
"type": "posts",
"id": "arts_1183",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1183",
"score": null,
"sort": [
1125302400000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1125302400,
"format": "standard",
"title": "Me and You and Everyone We Know",
"headTitle": "Me and You and Everyone We Know | KQED",
"content": "\u003cp>There’s this narrative, it’s not exactly a cliché, it’s sort of gone beyond that — it’s so pervasive and deeply ingrained that it’s become like one of those collective unconscious/Joseph Campbell things. It’s a marker of the Independent Film, especially when writ in capital letters. It goes something like this: A quirky misfit with a broken-but-resilient heart longs for connection/community/a sense of home. Is misunderstood/overlooked/aggrieved by his/her oddball sensibilities. Has many endearing mishaps and cringe-inducing adventures during which he/she meets other colorful kindred spirits and finds acceptance. This ragtag alliance forms a family more genuine than any you could find by conventional standards. Things Are Better. Roll credits (preferably over some undiscovered, deeply strange music). See \u003cb>Mystery Train\u003c/b>. \u003cb>King of Hearts\u003c/b>. \u003cb> Bagdhad Café\u003c/b>. \u003cb>What’s Eating Gilbert Grape\u003c/b>. \u003cb>The Station Agent\u003c/b>. Um, \u003cb>Rudolph the Red-Nosed Reindeer\u003c/b>…\u003c/p>\n\u003cp>\u003cb>Me and You and Everyone We Know\u003c/b> is essentially this very movie — same quest, new eccentric. The funny thing is, it won a special prize at the Sundance Film Festival for “Originality of Vision,” and in my opinion, completely deserved it. Miranda July has the oddest, most tender, downbeat-but-unfailing optimism that has ever been committed to film. Lest you think she’s some kind of Frank Capra, let me assure you that she doesn’t skirt around the issue of existential despair, especially the numbing, every-day pain of simple loneliness. Her wisp-of-a-heroine is such a marginalized odd duck that she fixates on an awkward shoe-salesman at the local discount department store as the answer to life’s immeasurable emptiness. He’s looking for meaning too, in his own askew way. Meanwhile, she makes earnest, profoundly goofy video art with the help of the senior citizens she carts around as part of her “Elder Taxi” day job. There are many interrelated characters and bizarre subplots we also follow, including the most hilarious skewering of the art-world curatorial process I’ve ever encountered.\u003c/p>\n\u003cp>What’s so surprising about \u003cb>Me You\u003c/b> is not its ingenious use of, say, self-immolation, emoticons, experimental fellatio, or the topic of poop, but Miranda July’s absolute refusal to be ironic. Ever. Her vision is so guileless it’s unnerving, and makes the film feel incredibly fresh. And so, no matter how much irony-baggage you schlep with you to the movie theatre, no matter how smart you think you are, no matter how far off you think you can spot a Joseph Campbell archetype coming at you, you find yourself completely & utterly disarmed by her touching riff on what it means to connect with other human beings. How, I wonder, did this glorious misfit of a movie ever get made?\u003c/p>\n\u003cp>As I left my neighborhood theatre on a Wednesday night, I actually said a little prayer of thanks for the lovable people I’d just gotten to know. As I did so, I passed, in no particular order: a man in a skeleton costume playing the accordion; a 50-something khaki-clad couple holding hands and wearing, inexplicably, matching balloon hats; a group of giggling teenaged gymnasts cavorting down the sidewalk on their hands; a string quartet doing a cover of Van Halen’s \u003cb>Jump\u003c/b>, and my favorite homeless guy Robert, sporting a hot pink umbrella with matching boa and lipstick. And it struck me that maybe the reason I loved this movie so much is that the narrative isn’t just familiar — it’s my own. Granted, I’ve never purposefully set my hand on fire, but I have been one of those lost souls wandering here-there-and-everywhere craving to connect, and the Bay Area is where I finally found what I was looking for. My own personal Island of Misfit Toys — that freakish, inimitable thing called Home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 679,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705053961,
"excerpt": "There's this narrative, it's not exactly a cliché, it's sort of gone beyond that -- it's so pervasive and deeply ingrained that it's become like one of those collective unconscious/Joseph Campbell things. It's a marker of the Independent Film, especially when writ in capital letters. It goes something like this: A quirky misfit with a broken-but-resilient heart longs for connection/community/a sense of home. Is misunderstood/overlooked/aggrieved by his/her oddball sensibilities. Has many endearing mishaps and cringe-inducing adventures during which he/she meets other colorful kindred spirits and finds acceptance. This ragtag alliance forms a family more genuine than any you could find by conventional standards. Things Are Better. Roll credits (preferably over some undiscovered, deeply strange music). See \u003cb>Mystery Train\u003c/b>. \u003cb>King of Hearts\u003c/b>. \u003cb> Bagdhad Café\u003c/b>. \u003cb>What's Eating Gilbert Grape\u003c/b>. \u003cb>The Station Agent\u003c/b>. Um, \u003cb>Rudolph the Red-Nosed Reindeer\u003c/b>...",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "There's this narrative, it's not exactly a cliché, it's sort of gone beyond that -- it's so pervasive and deeply ingrained that it's become like one of those collective unconscious/Joseph Campbell things. It's a marker of the Independent Film, especially when writ in capital letters. It goes something like this: A quirky misfit with a broken-but-resilient heart longs for connection/community/a sense of home. Is misunderstood/overlooked/aggrieved by his/her oddball sensibilities. Has many endearing mishaps and cringe-inducing adventures during which he/she meets other colorful kindred spirits and finds acceptance. This ragtag alliance forms a family more genuine than any you could find by conventional standards. Things Are Better. Roll credits (preferably over some undiscovered, deeply strange music). See Mystery Train. King of Hearts. Bagdhad Café. What's Eating Gilbert Grape. The Station Agent. Um, Rudolph the Red-Nosed Reindeer...",
"title": "Me and You and Everyone We Know | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Me and You and Everyone We Know",
"datePublished": "2005-08-29T01:00:00-07:00",
"dateModified": "2024-01-12T02:06:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "me_and_you_and_everyone_we_know",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/1183/me_and_you_and_everyone_we_know",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s this narrative, it’s not exactly a cliché, it’s sort of gone beyond that — it’s so pervasive and deeply ingrained that it’s become like one of those collective unconscious/Joseph Campbell things. It’s a marker of the Independent Film, especially when writ in capital letters. It goes something like this: A quirky misfit with a broken-but-resilient heart longs for connection/community/a sense of home. Is misunderstood/overlooked/aggrieved by his/her oddball sensibilities. Has many endearing mishaps and cringe-inducing adventures during which he/she meets other colorful kindred spirits and finds acceptance. This ragtag alliance forms a family more genuine than any you could find by conventional standards. Things Are Better. Roll credits (preferably over some undiscovered, deeply strange music). See \u003cb>Mystery Train\u003c/b>. \u003cb>King of Hearts\u003c/b>. \u003cb> Bagdhad Café\u003c/b>. \u003cb>What’s Eating Gilbert Grape\u003c/b>. \u003cb>The Station Agent\u003c/b>. Um, \u003cb>Rudolph the Red-Nosed Reindeer\u003c/b>…\u003c/p>\n\u003cp>\u003cb>Me and You and Everyone We Know\u003c/b> is essentially this very movie — same quest, new eccentric. The funny thing is, it won a special prize at the Sundance Film Festival for “Originality of Vision,” and in my opinion, completely deserved it. Miranda July has the oddest, most tender, downbeat-but-unfailing optimism that has ever been committed to film. Lest you think she’s some kind of Frank Capra, let me assure you that she doesn’t skirt around the issue of existential despair, especially the numbing, every-day pain of simple loneliness. Her wisp-of-a-heroine is such a marginalized odd duck that she fixates on an awkward shoe-salesman at the local discount department store as the answer to life’s immeasurable emptiness. He’s looking for meaning too, in his own askew way. Meanwhile, she makes earnest, profoundly goofy video art with the help of the senior citizens she carts around as part of her “Elder Taxi” day job. There are many interrelated characters and bizarre subplots we also follow, including the most hilarious skewering of the art-world curatorial process I’ve ever encountered.\u003c/p>\n\u003cp>What’s so surprising about \u003cb>Me You\u003c/b> is not its ingenious use of, say, self-immolation, emoticons, experimental fellatio, or the topic of poop, but Miranda July’s absolute refusal to be ironic. Ever. Her vision is so guileless it’s unnerving, and makes the film feel incredibly fresh. And so, no matter how much irony-baggage you schlep with you to the movie theatre, no matter how smart you think you are, no matter how far off you think you can spot a Joseph Campbell archetype coming at you, you find yourself completely & utterly disarmed by her touching riff on what it means to connect with other human beings. How, I wonder, did this glorious misfit of a movie ever get made?\u003c/p>\n\u003cp>As I left my neighborhood theatre on a Wednesday night, I actually said a little prayer of thanks for the lovable people I’d just gotten to know. As I did so, I passed, in no particular order: a man in a skeleton costume playing the accordion; a 50-something khaki-clad couple holding hands and wearing, inexplicably, matching balloon hats; a group of giggling teenaged gymnasts cavorting down the sidewalk on their hands; a string quartet doing a cover of Van Halen’s \u003cb>Jump\u003c/b>, and my favorite homeless guy Robert, sporting a hot pink umbrella with matching boa and lipstick. And it struck me that maybe the reason I loved this movie so much is that the narrative isn’t just familiar — it’s my own. Granted, I’ve never purposefully set my hand on fire, but I have been one of those lost souls wandering here-there-and-everywhere craving to connect, and the Bay Area is where I finally found what I was looking for. My own personal Island of Misfit Toys — that freakish, inimitable thing called Home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1183/me_and_you_and_everyone_we_know",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1184": {
"type": "posts",
"id": "arts_1184",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1184",
"score": null,
"sort": [
1124960940000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1124960940,
"format": "standard",
"title": "Sundance Deadline: Do or Die",
"headTitle": "Sundance Deadline: Do or Die | KQED",
"content": "\u003cp>All around the city I witness preparations for that Bay Area Labor Day weekend get away to the Nevada Black Rock Desert for Burning Man. Sets are being constructed on the street, acquaintances inquire about borrowing my junker bike for the Playa, and people decorate their vehicles for the great escape. On a less visible front, a sub-culture of independent filmmakers prepare for another kind of tradition, consuming gallons of coffee or any other substance that help keep them up, alert and working overtime. This segment of the population is hiding in darkened editing rooms and sound suites, rushing to make last minute editing decisions, polishing sound design and preparing to sound mix their films, as the deadline for \u003cb>Sundance\u003c/b> looms.\u003c/p>\n\u003cp>For this blog, I am charged with attending screenings and events related to film and filmmaking in the Bay Area and then writing about them with insight and wit. But I’ve barely managed to leave the house because I am too busy orchestrating the completion of my own short film, \u003cb>Lost & Found\u003c/b>. Having started production a year ago, I am on the last leg of the journey and facing the hardest part of the filmmaking process, which is actually finishing the film.\u003c/p>\n\u003cp>As a filmmaker, finishing means knowing that you are done and believing you have made the best film possible, within limited time and money, constraints with which all independent filmmakers deal. It means taking a leap of faith, losing all self-doubt, and trusting that the project you have devoted your life and money to for the last year, is really worth the effort. I made the Sundance deadline an arbitrary goal for myself to finish the film because it marks an entire year since I began shooting last August. Even now the chances of doing a sound mix before September 2nd (the deadline for short films) is looking mighty slim. So why lose sleep and rush the post-production process simply to make the deadline for a festival that gets over four thousand submissions a year?\u003c/p>\n\u003cp>\u003cb>Sundance\u003c/b> has both its share of detractors and supporters. Some sing its praises for supporting the work of emerging filmmakers, while others criticize it for being overwhelmingly commercial in nature. Chris Gore the writer of \u003cb>The Ultimate Film Festival Survival Guide\u003c/b> and editor of \u003cb>Film Threat\u003c/b> calls it, “The mother of all independent film festivals in the United States.” No matter which camp you are in, no one can deny the importance and prominence of a festival that has launched numerous filmmaking careers, distribution deals and helped so many films reach a wide audience. Sundance provides a major opportunity to meet festival directors from across the country, press people, agents, distributors, directors and build connections within the industry. The festival is mythic. And most of the independent American films that hit movie theaters across the country and reach a national audience (you) will have been discovered, bought, sold and hyped at \u003cb>Sundance\u003c/b>.\u003c/p>\n\u003cp>So why does someone who has spent the last seven years humbly making experimental films and attending underground screenings want to get a film into Sundance? In terms of aesthetic and content, \u003cb>Lost & Found\u003c/b> is the first film that has really been appropriate for Sundance. The trilogy of fairytales I had been making, were meant to be screened at experimental and underground film festivals, where the audience would be open to the fragmented narrative and the surreal nature of the work. Writing and directing this film has inspired me to make a feature and establish myself as a director. Since I am not wealthy, don’t have a trust fund and don’t expect to win the lottery anytime soon, Sundance presents an opportunity to toss my hat into the ring and look for a way to make the feature. More than anything I want to find a producer to collaborate with that will raise money and help to get it made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the numerous smart and talented people living here, raising money to make narrative features in the Bay Area is difficult. The area lacks the infrastructure that exists in places like New York, where a variety of production companies (Killer Film, Open City Films, IFC, Focus Features) and independent producers are connected to the larger industry, in terms of money and distribution opportunities. In an interview I conducted with Brian Benson (producer of \u003cb>Dopamine\u003c/b> and \u003cb>Groove\u003c/b>) for \u003cb>\u003c/b>Release Print magazine, we discussed the lack of feature narrative filmmaking in the Bay Area. His advice was simple, “You need to go to \u003cb>Sundance\u003c/b> and IFP [Independent Feature Project] and familiarize yourself with the system.” Sundance is a way of making connections and creating a network outside the Bay Area, without having to live in New York or Los Angeles.\u003c/p>\n\u003cp>I am not suggesting that filmmakers need to be beholden to \u003cb>Sundance\u003c/b> or any other festivals. There are numerous other distribution models. Filmmakers can use the DIY approach and distribute their films to independent theaters across the country (this is called four-walling), book their own shows at clubs, bars and campuses, or focus on direct DVD distribution. For me Sundance is simply a way of connecting to the larger film community and educating myself about different ways that I can take my filmmaking to the next level. There is nothing noble or romantic about not sleeping for a month, staying up late making crew calls and getting up at dawn to brew a pot of coffee, before you spend another twelve hours directing actors and running the show. Having the support of the Sundance Screen Writer’s Lab and Director’s Labs sounds downright dreamy, at this point in my filmmaking career. While the denizens of San Francisco hit the road for the carnival atmosphere of Burning Man, I am heading back into a dark room and watching my film again and crossing my fingers that I make the deadline.\u003c/p>\n\u003cp>Sundance Institute:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://institute.sundance.org/\">institute.sundance.org\u003c/a>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1003,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705053963,
"excerpt": "All around the city I witness preparations for that Bay Area Labor Day weekend get away to the Nevada Black Rock Desert for Burning Man. Sets are being constructed on the street, acquaintances inquire about borrowing my junker bike for the Playa, and people decorate their vehicles for the great escape. On a less visible front, a sub-culture of independent filmmakers prepare for another kind of tradition, consuming gallons of coffee or any other substance that help keep them up, alert and working overtime. This segment of the population is hiding in darkened editing rooms and sound suites, rushing to make last minute editing decisions, polishing sound design and preparing to sound mix their films, as the deadline for \u003cb>Sundance\u003c/b> looms.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "All around the city I witness preparations for that Bay Area Labor Day weekend get away to the Nevada Black Rock Desert for Burning Man. Sets are being constructed on the street, acquaintances inquire about borrowing my junker bike for the Playa, and people decorate their vehicles for the great escape. On a less visible front, a sub-culture of independent filmmakers prepare for another kind of tradition, consuming gallons of coffee or any other substance that help keep them up, alert and working overtime. This segment of the population is hiding in darkened editing rooms and sound suites, rushing to make last minute editing decisions, polishing sound design and preparing to sound mix their films, as the deadline for Sundance looms.",
"title": "Sundance Deadline: Do or Die | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sundance Deadline: Do or Die",
"datePublished": "2005-08-25T02:09:00-07:00",
"dateModified": "2024-01-12T02:06:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sundance_deadline_do_or_die",
"status": "publish",
"sticky": false,
"path": "/arts/1184/sundance_deadline_do_or_die",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All around the city I witness preparations for that Bay Area Labor Day weekend get away to the Nevada Black Rock Desert for Burning Man. Sets are being constructed on the street, acquaintances inquire about borrowing my junker bike for the Playa, and people decorate their vehicles for the great escape. On a less visible front, a sub-culture of independent filmmakers prepare for another kind of tradition, consuming gallons of coffee or any other substance that help keep them up, alert and working overtime. This segment of the population is hiding in darkened editing rooms and sound suites, rushing to make last minute editing decisions, polishing sound design and preparing to sound mix their films, as the deadline for \u003cb>Sundance\u003c/b> looms.\u003c/p>\n\u003cp>For this blog, I am charged with attending screenings and events related to film and filmmaking in the Bay Area and then writing about them with insight and wit. But I’ve barely managed to leave the house because I am too busy orchestrating the completion of my own short film, \u003cb>Lost & Found\u003c/b>. Having started production a year ago, I am on the last leg of the journey and facing the hardest part of the filmmaking process, which is actually finishing the film.\u003c/p>\n\u003cp>As a filmmaker, finishing means knowing that you are done and believing you have made the best film possible, within limited time and money, constraints with which all independent filmmakers deal. It means taking a leap of faith, losing all self-doubt, and trusting that the project you have devoted your life and money to for the last year, is really worth the effort. I made the Sundance deadline an arbitrary goal for myself to finish the film because it marks an entire year since I began shooting last August. Even now the chances of doing a sound mix before September 2nd (the deadline for short films) is looking mighty slim. So why lose sleep and rush the post-production process simply to make the deadline for a festival that gets over four thousand submissions a year?\u003c/p>\n\u003cp>\u003cb>Sundance\u003c/b> has both its share of detractors and supporters. Some sing its praises for supporting the work of emerging filmmakers, while others criticize it for being overwhelmingly commercial in nature. Chris Gore the writer of \u003cb>The Ultimate Film Festival Survival Guide\u003c/b> and editor of \u003cb>Film Threat\u003c/b> calls it, “The mother of all independent film festivals in the United States.” No matter which camp you are in, no one can deny the importance and prominence of a festival that has launched numerous filmmaking careers, distribution deals and helped so many films reach a wide audience. Sundance provides a major opportunity to meet festival directors from across the country, press people, agents, distributors, directors and build connections within the industry. The festival is mythic. And most of the independent American films that hit movie theaters across the country and reach a national audience (you) will have been discovered, bought, sold and hyped at \u003cb>Sundance\u003c/b>.\u003c/p>\n\u003cp>So why does someone who has spent the last seven years humbly making experimental films and attending underground screenings want to get a film into Sundance? In terms of aesthetic and content, \u003cb>Lost & Found\u003c/b> is the first film that has really been appropriate for Sundance. The trilogy of fairytales I had been making, were meant to be screened at experimental and underground film festivals, where the audience would be open to the fragmented narrative and the surreal nature of the work. Writing and directing this film has inspired me to make a feature and establish myself as a director. Since I am not wealthy, don’t have a trust fund and don’t expect to win the lottery anytime soon, Sundance presents an opportunity to toss my hat into the ring and look for a way to make the feature. More than anything I want to find a producer to collaborate with that will raise money and help to get it made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the numerous smart and talented people living here, raising money to make narrative features in the Bay Area is difficult. The area lacks the infrastructure that exists in places like New York, where a variety of production companies (Killer Film, Open City Films, IFC, Focus Features) and independent producers are connected to the larger industry, in terms of money and distribution opportunities. In an interview I conducted with Brian Benson (producer of \u003cb>Dopamine\u003c/b> and \u003cb>Groove\u003c/b>) for \u003cb>\u003c/b>Release Print magazine, we discussed the lack of feature narrative filmmaking in the Bay Area. His advice was simple, “You need to go to \u003cb>Sundance\u003c/b> and IFP [Independent Feature Project] and familiarize yourself with the system.” Sundance is a way of making connections and creating a network outside the Bay Area, without having to live in New York or Los Angeles.\u003c/p>\n\u003cp>I am not suggesting that filmmakers need to be beholden to \u003cb>Sundance\u003c/b> or any other festivals. There are numerous other distribution models. Filmmakers can use the DIY approach and distribute their films to independent theaters across the country (this is called four-walling), book their own shows at clubs, bars and campuses, or focus on direct DVD distribution. For me Sundance is simply a way of connecting to the larger film community and educating myself about different ways that I can take my filmmaking to the next level. There is nothing noble or romantic about not sleeping for a month, staying up late making crew calls and getting up at dawn to brew a pot of coffee, before you spend another twelve hours directing actors and running the show. Having the support of the Sundance Screen Writer’s Lab and Director’s Labs sounds downright dreamy, at this point in my filmmaking career. While the denizens of San Francisco hit the road for the carnival atmosphere of Burning Man, I am heading back into a dark room and watching my film again and crossing my fingers that I make the deadline.\u003c/p>\n\u003cp>Sundance Institute:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://institute.sundance.org/\">institute.sundance.org\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1184/sundance_deadline_do_or_die",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"label": "arts"
},
"arts_1185": {
"type": "posts",
"id": "arts_1185",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "1185",
"score": null,
"sort": [
1124142900000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1124142900,
"format": "standard",
"title": "Faster Pussycat at Midnight Mass",
"headTitle": "Faster Pussycat at Midnight Mass | KQED",
"content": "\u003cp>The first time I saw Tura Satana was through the fuzz of our tiny black and white TV. And no, I’m not a hundred years old. My mom was never a big proponent of new technology, so even in 1982 we still had an archaic black and white set. I was finally old enough to stay up late on Saturdays to participate in my mother’s late-night movie ritual. This was well before I started rolling my eyes at her or trying to avoid being seen with her in public. Our relationship was warm and as fuzzy as the black and white pictures that flickered into our living room. She would usually drift off to sleep pretty early. Left on my own, I would end up watching gothic horror movies that scared me and invaded my dreams.\u003c/p>\n\u003cp>One night, I turned the dial just in time to catch an image that would be forever imprinted in my young and impressionable mind. Tura Satana, the fox on the screen, clad in black from head to toe, with a cinched waist, knee high boots, hefty cleavage and a dangerous snarl plastered across her beautiful face, dug her heel into a man’s chest. This lady didn’t resemble my spinster English teacher, or the boring neighbor ladies who tended to their husbands and homes, or my aunt’s who sat around on plastic covered furniture as they gossiped and sipped Turkish coffee. She was nasty, powerful and dangerous.\u003c/p>\n\u003cp>The images of fast cars, chicks wearing hot pants and go-go boots, and the miles of sun- drenched desert depicted in Russ Meyer’s \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> came to represent California, at least in my mind. The seeds of the California dream were planted. It was a dark, beautiful and mysterious tangle of conflicting ideals and visual images. My mom woke up and promptly turned the television off, deeming the content of my California dream far too adult for my innocent eyes. But as I stared at the blank screen, I realized something had already transpired and the film became inextricably linked with the notion of an alternative lifestyle that seemingly only existed in California. I never knew the title of the film or who the mysterious woman was, but I knew I would never forget them.\u003c/p>\n\u003cp>Years later, when I was actually living in California, I realized pretty quickly that Modesto was about as far removed from the romantic imagery of my childhood as one could get. I lived in the most boring town on earth, where the only nightlife option on a Saturday evening was to descend into the parking lot of the local theater and play out our own “Midnight Movie” ritual. Week after week, we came to see the same scratched print of the \u003cb>The Rocky Horror Picture Show\u003c/b>.\u003c/p>\n\u003cp>One weekend, someone booked a special screening of a Russ Meyer film, and within seconds I recognized the woman that had left such an impact on me as a young girl. There was Tura Satana in all her glory, being projected larger than life on a fifty-foot screen. Varla, the character she played, was a tough, independent woman who could take care of herself and took no shit, even if she was a bit of a psychopath. Once again the image appeared to me at a defining moment — just as my own feminist ideals were beginning to take shape and my interest in B-movies was born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So when I recently found out that Tura Satana was going to be a special guest at \u003cb>Midnight Mass\u003c/b> for a screening of \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, I couldn’t pass up the opportunity to go and see my idol in the flesh. When I arrived, the line was already wrapped around the block. The smell of clove cigarettes hung in the air as I walked past drag queens dressed-up in full Varla garb; older post-punks sneaking hooch and looking fashionably bored; death rock kids huddled in groups and smoking cigarettes; and B-movie aficionados ready with their favorite memorabilia for Tura to sign. As I was parking my bike I caught a glimpse of HER. I expected her to be a giant, to be six feet tall — bigger than life. But in reality she was a tiny little lady, with a big smile on her face. Wearing an outfit that resembled her costume in \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, Satana walked down the red carpet in front of the Bridge Theater and into a mob scene.\u003c/p>\n\u003cp>I had gone to \u003cb>Midnight Mass\u003c/b> during its humble beginnings, so I was completely unprepared for the glitz and glamour in store for the audience. Since 1998, this midnight summer screening series has featured cult classics like John Water’s \u003cb>Desperate Living\u003c/b>, Doris Wishman’s \u003cb>Double Agent 73\u003c/b>, and Paul Verhoeven’s modern romp \u003cb>Showgirls\u003c/b>. The official mistress of ceremonies, Peaches Christ, presides over the spectacle, which has included lap dancing and a wet t-shirt contest. For this special evening, Peaches Christ, the hostess of \u003cb>Midnight Mass\u003c/b>, pulled out all the stops with the pre-show entertainment, unveiling her new single Idol Worship, a live floorshow complete with a gaggle of wild go-go dancers and a clip reel of Tura Satana’s cinematic legacy. The house was packed; there was electricity in the air and a sense of anticipation, knowing that Tura Satana would soon grace the stage.\u003c/p>\n\u003cp>The minute Satana walked onto the stage, the audience went wild. People were genuinely excited and probably shocked to be in the same room with an icon whose image had graced the cover of countless posters, t-shirts and B-movie magazines. I have to admit I was pretty star-struck. Satana proved to be just as amazing in real life, as the image plastered across the screen. She was funny, feisty and incredibly gracious during her interview, which was an intriguing mix of gossip, banter and intimate details from her personal life. Tura shared her experiences growing up Asian American and having to protect herself from the anti-Japanese sentiment she faced in the U.S. following World War II. She talked about learning karate in reaction to a vicious attack and learning to take care of herself at an early age. On a less serious note, Satana displayed the astonishing muscle control she learned to exert over her cleavage after years of tassel twirling in her legendary career as a burlesque dancer. She revealed her clandestine affair with Elvis and flashed a diamond ring he had given her as a gift. After the interview concluded and the lights went down, \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> was projected and Tura Satana’s persona lit up the screen. She was a giant again. Her iconic image was still as powerful as the first time I saw it on a tiny black and white TV.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Check out the last \u003cb>Midnight Mass\u003c/b> show of the summer, which will feature the San Francisco Underground Short Film Festival on August 20th. Find out more at \u003ca href=\"http://www.peacheschrist.com/\">peacheschrist.com\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1201,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705053964,
"excerpt": "The first time I saw Tura Satana was through the fuzz of our tiny black and white TV. And no, I'm not a hundred years old. My mom was never a big proponent of new technology, so even in 1982 we still had an archaic black and white set. I was finally old enough to stay up late on Saturdays to participate in my mother's late-night movie ritual. This was well before I started rolling my eyes at her or trying to avoid being seen with her in public. Our relationship was warm and as fuzzy as the black and white pictures that flickered into our living room. She would usually drift off to sleep pretty early. Left on my own, I would end up watching gothic horror movies that scared me and invaded my dreams.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The first time I saw Tura Satana was through the fuzz of our tiny black and white TV. And no, I'm not a hundred years old. My mom was never a big proponent of new technology, so even in 1982 we still had an archaic black and white set. I was finally old enough to stay up late on Saturdays to participate in my mother's late-night movie ritual. This was well before I started rolling my eyes at her or trying to avoid being seen with her in public. Our relationship was warm and as fuzzy as the black and white pictures that flickered into our living room. She would usually drift off to sleep pretty early. Left on my own, I would end up watching gothic horror movies that scared me and invaded my dreams.",
"title": "Faster Pussycat at Midnight Mass | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Faster Pussycat at Midnight Mass",
"datePublished": "2005-08-15T14:55:00-07:00",
"dateModified": "2024-01-12T02:06:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "faster_pussycat_at_midnight_mass",
"status": "publish",
"sticky": false,
"path": "/arts/1185/faster_pussycat_at_midnight_mass",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I saw Tura Satana was through the fuzz of our tiny black and white TV. And no, I’m not a hundred years old. My mom was never a big proponent of new technology, so even in 1982 we still had an archaic black and white set. I was finally old enough to stay up late on Saturdays to participate in my mother’s late-night movie ritual. This was well before I started rolling my eyes at her or trying to avoid being seen with her in public. Our relationship was warm and as fuzzy as the black and white pictures that flickered into our living room. She would usually drift off to sleep pretty early. Left on my own, I would end up watching gothic horror movies that scared me and invaded my dreams.\u003c/p>\n\u003cp>One night, I turned the dial just in time to catch an image that would be forever imprinted in my young and impressionable mind. Tura Satana, the fox on the screen, clad in black from head to toe, with a cinched waist, knee high boots, hefty cleavage and a dangerous snarl plastered across her beautiful face, dug her heel into a man’s chest. This lady didn’t resemble my spinster English teacher, or the boring neighbor ladies who tended to their husbands and homes, or my aunt’s who sat around on plastic covered furniture as they gossiped and sipped Turkish coffee. She was nasty, powerful and dangerous.\u003c/p>\n\u003cp>The images of fast cars, chicks wearing hot pants and go-go boots, and the miles of sun- drenched desert depicted in Russ Meyer’s \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> came to represent California, at least in my mind. The seeds of the California dream were planted. It was a dark, beautiful and mysterious tangle of conflicting ideals and visual images. My mom woke up and promptly turned the television off, deeming the content of my California dream far too adult for my innocent eyes. But as I stared at the blank screen, I realized something had already transpired and the film became inextricably linked with the notion of an alternative lifestyle that seemingly only existed in California. I never knew the title of the film or who the mysterious woman was, but I knew I would never forget them.\u003c/p>\n\u003cp>Years later, when I was actually living in California, I realized pretty quickly that Modesto was about as far removed from the romantic imagery of my childhood as one could get. I lived in the most boring town on earth, where the only nightlife option on a Saturday evening was to descend into the parking lot of the local theater and play out our own “Midnight Movie” ritual. Week after week, we came to see the same scratched print of the \u003cb>The Rocky Horror Picture Show\u003c/b>.\u003c/p>\n\u003cp>One weekend, someone booked a special screening of a Russ Meyer film, and within seconds I recognized the woman that had left such an impact on me as a young girl. There was Tura Satana in all her glory, being projected larger than life on a fifty-foot screen. Varla, the character she played, was a tough, independent woman who could take care of herself and took no shit, even if she was a bit of a psychopath. Once again the image appeared to me at a defining moment — just as my own feminist ideals were beginning to take shape and my interest in B-movies was born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when I recently found out that Tura Satana was going to be a special guest at \u003cb>Midnight Mass\u003c/b> for a screening of \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, I couldn’t pass up the opportunity to go and see my idol in the flesh. When I arrived, the line was already wrapped around the block. The smell of clove cigarettes hung in the air as I walked past drag queens dressed-up in full Varla garb; older post-punks sneaking hooch and looking fashionably bored; death rock kids huddled in groups and smoking cigarettes; and B-movie aficionados ready with their favorite memorabilia for Tura to sign. As I was parking my bike I caught a glimpse of HER. I expected her to be a giant, to be six feet tall — bigger than life. But in reality she was a tiny little lady, with a big smile on her face. Wearing an outfit that resembled her costume in \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, Satana walked down the red carpet in front of the Bridge Theater and into a mob scene.\u003c/p>\n\u003cp>I had gone to \u003cb>Midnight Mass\u003c/b> during its humble beginnings, so I was completely unprepared for the glitz and glamour in store for the audience. Since 1998, this midnight summer screening series has featured cult classics like John Water’s \u003cb>Desperate Living\u003c/b>, Doris Wishman’s \u003cb>Double Agent 73\u003c/b>, and Paul Verhoeven’s modern romp \u003cb>Showgirls\u003c/b>. The official mistress of ceremonies, Peaches Christ, presides over the spectacle, which has included lap dancing and a wet t-shirt contest. For this special evening, Peaches Christ, the hostess of \u003cb>Midnight Mass\u003c/b>, pulled out all the stops with the pre-show entertainment, unveiling her new single Idol Worship, a live floorshow complete with a gaggle of wild go-go dancers and a clip reel of Tura Satana’s cinematic legacy. The house was packed; there was electricity in the air and a sense of anticipation, knowing that Tura Satana would soon grace the stage.\u003c/p>\n\u003cp>The minute Satana walked onto the stage, the audience went wild. People were genuinely excited and probably shocked to be in the same room with an icon whose image had graced the cover of countless posters, t-shirts and B-movie magazines. I have to admit I was pretty star-struck. Satana proved to be just as amazing in real life, as the image plastered across the screen. She was funny, feisty and incredibly gracious during her interview, which was an intriguing mix of gossip, banter and intimate details from her personal life. Tura shared her experiences growing up Asian American and having to protect herself from the anti-Japanese sentiment she faced in the U.S. following World War II. She talked about learning karate in reaction to a vicious attack and learning to take care of herself at an early age. On a less serious note, Satana displayed the astonishing muscle control she learned to exert over her cleavage after years of tassel twirling in her legendary career as a burlesque dancer. She revealed her clandestine affair with Elvis and flashed a diamond ring he had given her as a gift. After the interview concluded and the lights went down, \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> was projected and Tura Satana’s persona lit up the screen. She was a giant again. Her iconic image was still as powerful as the first time I saw it on a tiny black and white TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out the last \u003cb>Midnight Mass\u003c/b> show of the summer, which will feature the San Francisco Underground Short Film Festival on August 20th. Find out more at \u003ca href=\"http://www.peacheschrist.com/\">peacheschrist.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/1185/faster_pussycat_at_midnight_mass",
"authors": [
"109"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_769"
],
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"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",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"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",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"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": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"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.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"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.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"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": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"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": {
"site": "news",
"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",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"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": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"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": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"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": {
"site": "news",
"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",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"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",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"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": {
"site": "news",
"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",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"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",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"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": {
"site": "radio",
"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"
}
},
"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": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 3228,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_1173",
"arts_1174",
"arts_1175",
"arts_1176",
"arts_1178",
"arts_1179",
"arts_1180",
"arts_1181",
"arts_1182",
"arts_1183",
"arts_1184",
"arts_1185"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_movies": {
"isLoading": true
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
