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"title": "‘Avant to Live’ Is a Monument to Beloved Mission Filmmaker Craig Baldwin",
"headTitle": "‘Avant to Live’ Is a Monument to Beloved Mission Filmmaker Craig Baldwin | KQED",
"content": "\u003cp>An enjoyable exception to the usual prestige books about artists, \u003cem>Craig Baldwin: Avant to Live!\u003c/em> evokes the iconoclastic personality of San Francisco’s preeminent underground filmmaker and The Other Cinema curator.\u003c/p>\n\u003cp>Written and compiled by Bay Area artists and curators Brett Kashmere and Steve Polta (and just published by their respective organizations, INCITE Journal of Experimental Media and \u003ca href=\"https://www.sfcinematheque.org/avant-to-live-events/\" target=\"_blank\" rel=\"noopener\">San Francisco Cinematheque\u003c/a>), the massive tome frontloads a veritable trove of reminiscences, anecdotes, interviews and tributes before presenting an array of critical analyses.\u003c/p>\n\u003cp>For more than 40 years, Craig Baldwin has reappropriated images from discarded and forgotten educational and industrial movies (found footage, in the vernacular of experimental film) to craft brilliant, hyper-dense 16mm films critiquing U.S. exceptionalism, colonialism, capitalism and moviemaking. Given that his works — \u003cem>Tribulation 99: Alien Anomalies Under America\u003c/em>, \u003cem>¡O No Coronado!\u003c/em>, \u003cem>Sonic Outlaws\u003c/em>, \u003cem>Spectres of the Spectrum\u003c/em>, \u003cem>Mock Up on Mu \u003c/em>— are subversive mashups of experimental documentary, science-fiction fantasia and essay film, it’s fitting that \u003cem>Craig Baldwin: Avant to Live\u003c/em> is a hybrid zine, scrapbook, academic treatise and alternate social history of post-1970s San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> hosts a celebration of the book Sunday, May 28 and a retrospective of Baldwin’s films May 30–31. I met the Mission’s whirling dervish at his home base, the Artists’ Television Access space on Valencia St., for a typically chatty, digressive conversation. Baldwin greeted me with a lament about the current state of the building, where he’s screened thousands of alternative films since the ‘80s, and a brief history of the punk artists who preceded him.\u003c/p>\n\u003cfigure id=\"attachment_13929714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png\" alt=\"a book cover in black and white that reads 'Craig Baldwin' in white and in red 'Avant to live!'\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-768x980.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Craig Baldwin: Avant to Live!’ was recently published by San Francisco Cinematheque and INCITE: Journal of Experimental Media. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Craig Baldwin:\u003c/strong> The history of this space [is that] it was too big — I think it was a bakery and a family could live here.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts:\u003c/strong> \u003cstrong>A business in the front and the family lived upstairs.\u003c/strong>\u003c/p>\n\u003cp>I think it’s a brilliant idea. And you know what I call it? Live/work. [ATA and The Other] happened to be the destination space for people from the ‘burbs who would check this place out on a Saturday. You can’t get down the sidewalk. I’m not putting that down, by the way. I’m glad they come to the city. It’s too bad it doesn’t happen in their own neighborhoods but I’m glad to be presenting an alternative.\u003c/p>\n\u003cp>But we can hardly afford the rent. You know what’s two doors down? Dogue. If you want to serve your dog a $75 meal. Do you believe that? That is just m************ outrageous.\u003c/p>\n\u003cp>\u003cstrong>I’m here on account of \u003cem>Avant to Live\u003c/em>, which has more love per page than the Kama Sutra.\u003c/strong>\u003c/p>\n\u003cp>I like that. The writers are pouring love on me, if that’s what you mean.\u003c/p>\n\u003cfigure id=\"attachment_13929710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929710\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg\" alt=\"a still from a black and white film of a young woman with light hair\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1920x1395.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg 1922w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘FlickSkin.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you recall a formative moment when motion pictures, moving images, captured you more than theater, sports writing and your other adolescent creative pursuits?\u003c/strong>\u003c/p>\n\u003cp>The first movie I ever saw, at the Village Theater when I was growing up in Sacramento. \u003cem>Lorna Doone\u003c/em>. You could look it up. Black-and-white. Anyone can come up with an anecdote like that. There’s nothing particularly meaningful about that … that probably happens to every kid who goes to see their first movie. But I remember that moment to this day.\u003c/p>\n\u003cp>\u003cstrong>But that experience didn’t make you a filmmaker.\u003c/strong>\u003c/p>\n\u003cp>What made me a maker was Super 8. The generation coming up now, they don’t have their Super 8. It was the tractability, flexibility, mutability, portability, ease, comfort of Super 8 that anyone in high school would be doing.\u003c/p>\n\u003cp>You could borrow your best friend’s camera, or your parents might have a camera, and just go out and shoot. That’s probably it. But the found-footage thing, the Craig Baldwin thing, there is a story in the book about \u003cem>Stolen Movie\u003c/em>, which is playing at the Roxie [May 30] and \u003cem>FlickSkin\u003c/em>, the film that I made to get into the film program at [SF] State. I had my paintings in the Crocker Art Gallery in Sacramento. My mother probably sensed something, and she would drive me on a Saturday … many mothers do that, take their kids to art classes.\u003c/p>\n\u003cfigure id=\"attachment_13929709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie-800x573.jpg\" alt=\"A blurry still from a movie, with a man in a red shirt with long blond hair\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-2048x1468.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1920x1376.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Stolen Movie.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Then what made you different?\u003c/strong>\u003c/p>\n\u003cp>Good question. The subcultural thing [for one] … I was impoverished the whole time. I never went the pro route. Accident or nature or coincidence or God or whatever, I ended up having a roommate who had an uncle who ran a porn theater. I ended up sleeping in the projection booth. I saw what film was. Found film, to me —\u003c/p>\n\u003cp>\u003cstrong>That is, film intended for one purpose —\u003c/strong>\u003c/p>\n\u003cp>That I could re-use. But it was more the materiality. It could have been another way but I was in the porn field, I was close to the film, I was demystified, I was radicalized, I understood what it was, just light through a strip of celluloid. This was a public thing that people paid money to see, and it was nothing but that. And the way it was treated in that porn theater was not professional, you understand? It was devalued. It was degraded. It was the lowest, the gutter, and that’s what radicalized me. As a found-footage maker, I realized I could do that. For me, [film was] the artistic opportunity, the potential, the attraction, the allure, the eros, the desire to get your hands on it.\u003c/p>\n\u003cfigure id=\"attachment_13929717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929717 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg\" alt=\"a young man in a black and white striped shirt is seen looking at film \" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craig Baldwin in his editing niche at the Russians, cutting RocketKitKongoKit (1986), circa 1984. \u003ccite>(Photographer unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anything else you recall about that porn house?\u003c/strong>\u003c/p>\n\u003cp>It was a very famous theater on the corner of Jones and Golden Gate. It was more like a pickup joint. People would just be standing, the screen would be there and people would be walking around. There were seats, but you weren’t expected to sit down. I said, ‘This is almost like an installation.’ Naïve, you understand. [I realized] film is not untouchable, film is not above me, not something I can’t reach. It is something at my level, it is free, cheap, like what I do here. [Baldwin waves his hand.] All these pieces of furniture were just found on the street. I wouldn’t buy a piece of furniture. It was just the way our generation lived. [Or at least] the way I did.\u003c/p>\n\u003cp>\u003cstrong>The tactile experience of shooting and editing film has been replaced by digital equipment. So what is the meaning of an image now? How does a 20-year-old maker connect with image-making, and does it matter?\u003c/strong>\u003c/p>\n\u003cp>I just don’t know. It’s a rhetorical question. It’s more difficult for me to personally connect, which has something to do with my generation, but also has to do with my sensibility, which is more like a sculptor or a painter. It’s more assemblage.\u003c/p>\n\u003cp>That’s why Bruce Conner connected with me. \u003cem>A Movie\u003c/em> (Conner’s 1958 collage film that became a touchstone of experimental film) was part of an assemblage, part of an installation, of which there were a million things, the projector was part of it and the film was running on the projector. And he just said, “Let’s make this a standalone, let’s take the projector and the film and show it in a theater as opposed to a gallery.” That’s kind of an “aha” moment. Conner always identified himself as a sculptor, a visual artist. Moviemaker came way later in his career.\u003c/p>\n\u003cp>\u003cstrong>Viewers are somewhat more media-savvy than when you were editing shots from 1950s films into \u003cem>Tribulation 99\u003c/em> (1991). Do you think people trust images less than when you started out?\u003c/strong>\u003c/p>\n\u003cp>I never did trust it. I was always doing the fake news thing. Industrial films, educational films — for me the word is ideology. I was always trying to see through, X-ray, strip the whatever: capitalism, sexism, blah blah blah. I was radicalized. I happened to see the Bank of America burn in Isla Vista [in 1970] when I was 17 years old. I lived through it. For me, it was indulgent, silly, trivial to make films that weren’t addressing class war. That’s the dialectical materialism, that’s what you’re talking about. Class war almost seems like a quaint term, though I still believe in it. That’s what I’m still trying to get to.\u003c/p>\n\u003cfigure id=\"attachment_13929711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg\" alt=\"a still from a black and white movie with a sea monster\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-2048x1413.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1920x1325.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘Tribulation 99.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One of the pieces in the book describes a lifestyle that you came to embrace called “masochism on the margins.” \u003c/strong>\u003c/p>\n\u003cp>I’m not saying I change the world, or culture jam. Not that there’s just two paths, but by engagement with the more corporate model, which is the larger model, that doesn’t necessarily guarantee that you are going to be able to make a difference, either. It’s a lose-lose situation, I guess you could say. So I choose the grind-me-up, self-sacrifice, marginal, the first guy they shoot kind of thing.\u003c/p>\n\u003cp>I always point to Jonas Salk, my hero. My father had polio. Big deal. He got through. And I did, because we had our polio shots. A small group of people can make a big difference. It’s not just elite people, like Salk certainly was. But people can propose ideas, and those people themselves might not be “successful,” but their ideas can live a little bit, down the line.\u003c/p>\n\u003cp>\u003cstrong>I learned from the book that you have a work in progress called \u003cem>Invisible Insurrection\u003c/em>. What can you tell me about it?\u003c/strong>\u003c/p>\n\u003cp>I’m not very far along. I’ll finish that film. It’s all down there [points to the basement]. I just haven’t had the time. I’m just crying, screaming, raging overwhelmed right now. It’s a little bit of a review of a cultural history, and this moment where there was a resistance against the Bomb and then there was the move to suburbia, which I’m a product of, and then there were the beatniks, and so on.\u003c/p>\n\u003cp>What happened is, there are particular humans that we can point to and say, “Well, that guy had a pretty good idea what was going on,” and [one] was William Burroughs. Now, how many movies are there about William Burroughs? A lot. In France, the same postwar, the same malaise, “something’s wrong, something’s being screwed up.” The generation there that comes up, that’s the same as Burroughs, had their coterie of thinkers that we might call the Situationists. So it’s a Situationist film.\u003c/p>\n\u003cp>What happens is Burroughs shoots his wife, ends up in Africa, writes \u003cem>Naked Lunch\u003c/em>, puts it together in Paris. Here’s Guy Debord, the guy who wrote \u003cem>The Society of the Spectacle\u003c/em> (1967), which is also filled with quotes and aphorisms and citations — just like Burroughs. So these guys are developing a style which is a little bit reminiscent of everything we’ve been talking about today, which is this acknowledgement of philosophy and ideas that we have inherited that we think might be good, and putting together new combinations postwar, post-Bomb. They’re both writing [what] are arguably the most important books of our generation: \u003cem>Naked Lunch\u003c/em> and \u003cem>The Society of the Spectacle\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13929715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png\" alt=\"a still from a black and white movie of a woman sitting looking into a microsope\" width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1536x1173.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1920x1466.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Baldwin’s ‘Spectres of the Spectrum.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your project do with those works?\u003c/strong>\u003c/p>\n\u003cp>What I am doing is having a conversation, a fistfight, between Burroughs and Debord, set in ’59 in France. I have a trillion French-language films, you understand. The right period, but also a little bit self-reflexive and hilarious. But I could use the voices of Debord and Burroughs. And I can certainly use the actual words, that is to say, what they wrote. Technology has provided that for us: You can get more text than you want.\u003c/p>\n\u003cp>So I can actually have those guys talking. I could recreate something that never happened. They never met. The point is I’m bringing them together. I will be able to have this discussion about intellectual history, about philosophical discourse, but in a para-narrative way. I [just] made that up. We see not only the discussion between Burroughs and Debord that never happened, but also the meeting of these two generations, the subcultures, the undergrounds, the progenitors of the ‘60s. Planting the seeds of resistance. A way of creating this moment postwar, our generation, in which these guys hash it out, in an essay form but not in a written linguistic form — in an enacted, embodied, imagistic form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Craig Baldwin: Avant to Live!’ takes place May 28–31 at the Roxie Theater in San Francisco, kicking off with a book launch on May 28, screenings of Baldwin’s work May 30–31, and in-person appearances by the filmmaker at all events. \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "‘Avant to Live’ Is a Monument to Beloved Mission Filmmaker Craig Baldwin | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An enjoyable exception to the usual prestige books about artists, \u003cem>Craig Baldwin: Avant to Live!\u003c/em> evokes the iconoclastic personality of San Francisco’s preeminent underground filmmaker and The Other Cinema curator.\u003c/p>\n\u003cp>Written and compiled by Bay Area artists and curators Brett Kashmere and Steve Polta (and just published by their respective organizations, INCITE Journal of Experimental Media and \u003ca href=\"https://www.sfcinematheque.org/avant-to-live-events/\" target=\"_blank\" rel=\"noopener\">San Francisco Cinematheque\u003c/a>), the massive tome frontloads a veritable trove of reminiscences, anecdotes, interviews and tributes before presenting an array of critical analyses.\u003c/p>\n\u003cp>For more than 40 years, Craig Baldwin has reappropriated images from discarded and forgotten educational and industrial movies (found footage, in the vernacular of experimental film) to craft brilliant, hyper-dense 16mm films critiquing U.S. exceptionalism, colonialism, capitalism and moviemaking. Given that his works — \u003cem>Tribulation 99: Alien Anomalies Under America\u003c/em>, \u003cem>¡O No Coronado!\u003c/em>, \u003cem>Sonic Outlaws\u003c/em>, \u003cem>Spectres of the Spectrum\u003c/em>, \u003cem>Mock Up on Mu \u003c/em>— are subversive mashups of experimental documentary, science-fiction fantasia and essay film, it’s fitting that \u003cem>Craig Baldwin: Avant to Live\u003c/em> is a hybrid zine, scrapbook, academic treatise and alternate social history of post-1970s San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> hosts a celebration of the book Sunday, May 28 and a retrospective of Baldwin’s films May 30–31. I met the Mission’s whirling dervish at his home base, the Artists’ Television Access space on Valencia St., for a typically chatty, digressive conversation. Baldwin greeted me with a lament about the current state of the building, where he’s screened thousands of alternative films since the ‘80s, and a brief history of the punk artists who preceded him.\u003c/p>\n\u003cfigure id=\"attachment_13929714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png\" alt=\"a book cover in black and white that reads 'Craig Baldwin' in white and in red 'Avant to live!'\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-768x980.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Craig Baldwin: Avant to Live!’ was recently published by San Francisco Cinematheque and INCITE: Journal of Experimental Media. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Craig Baldwin:\u003c/strong> The history of this space [is that] it was too big — I think it was a bakery and a family could live here.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts:\u003c/strong> \u003cstrong>A business in the front and the family lived upstairs.\u003c/strong>\u003c/p>\n\u003cp>I think it’s a brilliant idea. And you know what I call it? Live/work. [ATA and The Other] happened to be the destination space for people from the ‘burbs who would check this place out on a Saturday. You can’t get down the sidewalk. I’m not putting that down, by the way. I’m glad they come to the city. It’s too bad it doesn’t happen in their own neighborhoods but I’m glad to be presenting an alternative.\u003c/p>\n\u003cp>But we can hardly afford the rent. You know what’s two doors down? Dogue. If you want to serve your dog a $75 meal. Do you believe that? That is just m************ outrageous.\u003c/p>\n\u003cp>\u003cstrong>I’m here on account of \u003cem>Avant to Live\u003c/em>, which has more love per page than the Kama Sutra.\u003c/strong>\u003c/p>\n\u003cp>I like that. The writers are pouring love on me, if that’s what you mean.\u003c/p>\n\u003cfigure id=\"attachment_13929710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929710\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg\" alt=\"a still from a black and white film of a young woman with light hair\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1920x1395.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg 1922w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘FlickSkin.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you recall a formative moment when motion pictures, moving images, captured you more than theater, sports writing and your other adolescent creative pursuits?\u003c/strong>\u003c/p>\n\u003cp>The first movie I ever saw, at the Village Theater when I was growing up in Sacramento. \u003cem>Lorna Doone\u003c/em>. You could look it up. Black-and-white. Anyone can come up with an anecdote like that. There’s nothing particularly meaningful about that … that probably happens to every kid who goes to see their first movie. But I remember that moment to this day.\u003c/p>\n\u003cp>\u003cstrong>But that experience didn’t make you a filmmaker.\u003c/strong>\u003c/p>\n\u003cp>What made me a maker was Super 8. The generation coming up now, they don’t have their Super 8. It was the tractability, flexibility, mutability, portability, ease, comfort of Super 8 that anyone in high school would be doing.\u003c/p>\n\u003cp>You could borrow your best friend’s camera, or your parents might have a camera, and just go out and shoot. That’s probably it. But the found-footage thing, the Craig Baldwin thing, there is a story in the book about \u003cem>Stolen Movie\u003c/em>, which is playing at the Roxie [May 30] and \u003cem>FlickSkin\u003c/em>, the film that I made to get into the film program at [SF] State. I had my paintings in the Crocker Art Gallery in Sacramento. My mother probably sensed something, and she would drive me on a Saturday … many mothers do that, take their kids to art classes.\u003c/p>\n\u003cfigure id=\"attachment_13929709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie-800x573.jpg\" alt=\"A blurry still from a movie, with a man in a red shirt with long blond hair\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-2048x1468.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1920x1376.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Stolen Movie.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Then what made you different?\u003c/strong>\u003c/p>\n\u003cp>Good question. The subcultural thing [for one] … I was impoverished the whole time. I never went the pro route. Accident or nature or coincidence or God or whatever, I ended up having a roommate who had an uncle who ran a porn theater. I ended up sleeping in the projection booth. I saw what film was. Found film, to me —\u003c/p>\n\u003cp>\u003cstrong>That is, film intended for one purpose —\u003c/strong>\u003c/p>\n\u003cp>That I could re-use. But it was more the materiality. It could have been another way but I was in the porn field, I was close to the film, I was demystified, I was radicalized, I understood what it was, just light through a strip of celluloid. This was a public thing that people paid money to see, and it was nothing but that. And the way it was treated in that porn theater was not professional, you understand? It was devalued. It was degraded. It was the lowest, the gutter, and that’s what radicalized me. As a found-footage maker, I realized I could do that. For me, [film was] the artistic opportunity, the potential, the attraction, the allure, the eros, the desire to get your hands on it.\u003c/p>\n\u003cfigure id=\"attachment_13929717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929717 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg\" alt=\"a young man in a black and white striped shirt is seen looking at film \" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craig Baldwin in his editing niche at the Russians, cutting RocketKitKongoKit (1986), circa 1984. \u003ccite>(Photographer unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anything else you recall about that porn house?\u003c/strong>\u003c/p>\n\u003cp>It was a very famous theater on the corner of Jones and Golden Gate. It was more like a pickup joint. People would just be standing, the screen would be there and people would be walking around. There were seats, but you weren’t expected to sit down. I said, ‘This is almost like an installation.’ Naïve, you understand. [I realized] film is not untouchable, film is not above me, not something I can’t reach. It is something at my level, it is free, cheap, like what I do here. [Baldwin waves his hand.] All these pieces of furniture were just found on the street. I wouldn’t buy a piece of furniture. It was just the way our generation lived. [Or at least] the way I did.\u003c/p>\n\u003cp>\u003cstrong>The tactile experience of shooting and editing film has been replaced by digital equipment. So what is the meaning of an image now? How does a 20-year-old maker connect with image-making, and does it matter?\u003c/strong>\u003c/p>\n\u003cp>I just don’t know. It’s a rhetorical question. It’s more difficult for me to personally connect, which has something to do with my generation, but also has to do with my sensibility, which is more like a sculptor or a painter. It’s more assemblage.\u003c/p>\n\u003cp>That’s why Bruce Conner connected with me. \u003cem>A Movie\u003c/em> (Conner’s 1958 collage film that became a touchstone of experimental film) was part of an assemblage, part of an installation, of which there were a million things, the projector was part of it and the film was running on the projector. And he just said, “Let’s make this a standalone, let’s take the projector and the film and show it in a theater as opposed to a gallery.” That’s kind of an “aha” moment. Conner always identified himself as a sculptor, a visual artist. Moviemaker came way later in his career.\u003c/p>\n\u003cp>\u003cstrong>Viewers are somewhat more media-savvy than when you were editing shots from 1950s films into \u003cem>Tribulation 99\u003c/em> (1991). Do you think people trust images less than when you started out?\u003c/strong>\u003c/p>\n\u003cp>I never did trust it. I was always doing the fake news thing. Industrial films, educational films — for me the word is ideology. I was always trying to see through, X-ray, strip the whatever: capitalism, sexism, blah blah blah. I was radicalized. I happened to see the Bank of America burn in Isla Vista [in 1970] when I was 17 years old. I lived through it. For me, it was indulgent, silly, trivial to make films that weren’t addressing class war. That’s the dialectical materialism, that’s what you’re talking about. Class war almost seems like a quaint term, though I still believe in it. That’s what I’m still trying to get to.\u003c/p>\n\u003cfigure id=\"attachment_13929711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg\" alt=\"a still from a black and white movie with a sea monster\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-2048x1413.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1920x1325.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘Tribulation 99.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One of the pieces in the book describes a lifestyle that you came to embrace called “masochism on the margins.” \u003c/strong>\u003c/p>\n\u003cp>I’m not saying I change the world, or culture jam. Not that there’s just two paths, but by engagement with the more corporate model, which is the larger model, that doesn’t necessarily guarantee that you are going to be able to make a difference, either. It’s a lose-lose situation, I guess you could say. So I choose the grind-me-up, self-sacrifice, marginal, the first guy they shoot kind of thing.\u003c/p>\n\u003cp>I always point to Jonas Salk, my hero. My father had polio. Big deal. He got through. And I did, because we had our polio shots. A small group of people can make a big difference. It’s not just elite people, like Salk certainly was. But people can propose ideas, and those people themselves might not be “successful,” but their ideas can live a little bit, down the line.\u003c/p>\n\u003cp>\u003cstrong>I learned from the book that you have a work in progress called \u003cem>Invisible Insurrection\u003c/em>. What can you tell me about it?\u003c/strong>\u003c/p>\n\u003cp>I’m not very far along. I’ll finish that film. It’s all down there [points to the basement]. I just haven’t had the time. I’m just crying, screaming, raging overwhelmed right now. It’s a little bit of a review of a cultural history, and this moment where there was a resistance against the Bomb and then there was the move to suburbia, which I’m a product of, and then there were the beatniks, and so on.\u003c/p>\n\u003cp>What happened is, there are particular humans that we can point to and say, “Well, that guy had a pretty good idea what was going on,” and [one] was William Burroughs. Now, how many movies are there about William Burroughs? A lot. In France, the same postwar, the same malaise, “something’s wrong, something’s being screwed up.” The generation there that comes up, that’s the same as Burroughs, had their coterie of thinkers that we might call the Situationists. So it’s a Situationist film.\u003c/p>\n\u003cp>What happens is Burroughs shoots his wife, ends up in Africa, writes \u003cem>Naked Lunch\u003c/em>, puts it together in Paris. Here’s Guy Debord, the guy who wrote \u003cem>The Society of the Spectacle\u003c/em> (1967), which is also filled with quotes and aphorisms and citations — just like Burroughs. So these guys are developing a style which is a little bit reminiscent of everything we’ve been talking about today, which is this acknowledgement of philosophy and ideas that we have inherited that we think might be good, and putting together new combinations postwar, post-Bomb. They’re both writing [what] are arguably the most important books of our generation: \u003cem>Naked Lunch\u003c/em> and \u003cem>The Society of the Spectacle\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13929715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png\" alt=\"a still from a black and white movie of a woman sitting looking into a microsope\" width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1536x1173.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1920x1466.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Baldwin’s ‘Spectres of the Spectrum.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your project do with those works?\u003c/strong>\u003c/p>\n\u003cp>What I am doing is having a conversation, a fistfight, between Burroughs and Debord, set in ’59 in France. I have a trillion French-language films, you understand. The right period, but also a little bit self-reflexive and hilarious. But I could use the voices of Debord and Burroughs. And I can certainly use the actual words, that is to say, what they wrote. Technology has provided that for us: You can get more text than you want.\u003c/p>\n\u003cp>So I can actually have those guys talking. I could recreate something that never happened. They never met. The point is I’m bringing them together. I will be able to have this discussion about intellectual history, about philosophical discourse, but in a para-narrative way. I [just] made that up. We see not only the discussion between Burroughs and Debord that never happened, but also the meeting of these two generations, the subcultures, the undergrounds, the progenitors of the ‘60s. Planting the seeds of resistance. A way of creating this moment postwar, our generation, in which these guys hash it out, in an essay form but not in a written linguistic form — in an enacted, embodied, imagistic form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Craig Baldwin: Avant to Live!’ takes place May 28–31 at the Roxie Theater in San Francisco, kicking off with a book launch on May 28, screenings of Baldwin’s work May 30–31, and in-person appearances by the filmmaker at all events. \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This Summer, a Return of the Return to the Movie Theater",
"headTitle": "This Summer, a Return of the Return to the Movie Theater | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Last year, vaccinated against the virus and reaching escape velocity from the Netflix/Prime Video force field, audiences thronged back to theaters. It wasn’t just teenagers, either: Lobbies and aisles were crammed with adults attracted by the drumbeat of Tom Toms (Cruise in \u003cem>Top Gun: Maverick\u003c/em>, Hanks in \u003cem>Elvis\u003c/em>). \u003c/p>\n\u003cp>Hollywood’s betting even bigger this year that moviegoers want to escape to familiar places with crash-bang sequels of the \u003cem>Spider-Verse\u003c/em>, \u003cem>Transformers\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>Indiana Jones\u003c/em>, \u003cem>Teenage Mutant Ninja Turtles\u003c/em> and \u003cem>Insidious\u003c/em> variety. (Aren’t we lucky these flicks were finished before the writers went on strike!)\u003c/p>\n\u003cp>For escapism with a dash of familiarity, summer screens offer plenty of options.\u003c/p>\n\u003cfigure id=\"attachment_13929558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/invasion-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13929558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeff Goldblum and Leonard Nimoy in 1978’s ‘Invasion of the Body Snatchers.’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-invasion-of-the-body-snatchers/e486884\" rel=\"noopener\" target=\"_blank\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nJune 8–Oct. 20\u003c/em>\u003cbr>\nSan Francisco’s free annual outdoor series intriguingly matches seven movies you’ve seen (more than once, probably) to seven allusive settings. Get of your hood and head to the Presidio for the military macho of \u003cem>Top Gun: Maverick\u003c/em> (June 30) or to Dolores Park for the ABBA-infused \u003cem>Mamma Mia!\u003c/em> (Aug. 18). Philip Kaufman’s 1978 \u003cem>Invasion of the Body Snatchers\u003c/em> (June 8 at Alamo Square Park), the best film in the lineup and the only one set in San Francisco, reimagines Don Siegel’s 1956 parable of creeping small-town McCarthyism as a terrifying tale of New Age seduction and smug urban “individualism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1sgct9yCmHk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.magpictures.com/bluejean/\">\u003cem>Blue Jean\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nGet in gear for Pride Month — if you haven’t already been galvanized by the latest right-wing attacks on LBGTQIA+ folks — with UK writer-director Georgia Oakley’s jangly drama set in the late 1980s. Rosy McEwen plays a lesbian high school P.E. teacher who’s profoundly afraid of being exposed in Thatcher’s England, yet also excited about the love, life and community within her reach. The arrival of a new student upsets Jean’s balancing act.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hXzcyx9V0xw\u003c/p>\n\u003ch2>Elemental\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nVeteran Pixar animator and voice actor Peter Sohn (\u003cem>The Good Dinosaur\u003c/em>) returns to the director’s chair with a fairy tale about diversity, equity and inclusiveness. Think I’m kidding? Fire, water, air and earth residents live together peaceably in the same city, explored by new pals and apparent opposites Ember and Wade. I can’t wait to see Disney’s Florida marketing campaign!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=moiRCJR4ToY\u003c/p>\n\u003ch2>The Blackening\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nThe stabs at humor in summer horror films are typically broader than in their autumn cousins, but that doesn’t mean they skimp on the chills. Tracy Oliver (\u003cem>Harlem\u003c/em>) and Dewayne Perkins’s screenplay, helmed by Tim Story, reunites seven Black college friends for a Juneteenth party at the requisite cabin in the woods with the requisite slasher in the wings. Sacred and not-so-sacred genre conventions are cheerfully skewered, along with a raft of stereotypes and (unhappily) a few cast members. Presumably there are breaks in the banter so the audience can scream, “Don’t open that door!” (For fantastical fun from a different Black perspective, check out East Bay multi-talent Boots Riley’s limited series about a 13-foot-tall Oakland native, \u003cem>I’m a Virgo\u003c/em>, premiering June 23 on Prime Video.)\u003c/p>\n\u003cfigure id=\"attachment_13929555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg\" alt=\"\" width=\"800\" height=\"490\" class=\"size-medium wp-image-13929555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1536x940.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-2048x1254.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1920x1175.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Deneuve in a famous scene from Luis Buñuel’s 1967 film ‘Belle de Jour.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/luis-bunuels-magnificent-weapon\" rel=\"noopener\" target=\"_blank\">Luis Buñuel’s Magnificent Weapon\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 7–Nov. 23 at BAMPFA, Berkeley\u003c/em>\u003cbr>\nThe master of delicious perversity for half of the 20th century, Spanish-born filmmaker Luis Buñuel slid his stiletto into the fatty liver of upper-middle-class entitlement, religious hypocrisy and base sexual desire. Shocking for their time and savagely funny, Buñuel’s social satires used dream sequences and flashbacks to fracture narrative expectations. (A lifelong surrealist, his influence extends to David Lynch, Gaspar Noé and the aforementioned Mr. Riley.) BAMPFA’s retrospective begins with the brilliant ’60s and ’70s films — \u003cem>Viridiana\u003c/em>, \u003cem>Diary of a Chambermaid\u003c/em>, \u003cem>Belle de Jour\u003c/em> and \u003cem>The Discreet Charm of the Bourgeoisie\u003c/em> among them — that cemented Buñuel’s reputation and became rep house staples for a subsequent generation.\u003c/p>\n\u003cfigure id=\"attachment_13929550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg\" alt=\"A Japanese man and woman get close near a granite boulder.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13929550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1536x1068.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13.jpg 1940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sessue Hayakawa and Tsuru Aoki in ‘The Dragon Painter,’ directed by William Worthington and filmed in Yosemite National Park (standing in for Japan), 1919. A restoration of the film screens at this year’s San Francisco Silent Film Festival. \u003ccite>(Courtesy SFSFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 12–16 at the Castro Theatre\u003c/em>\u003cbr>\nThe uncertain future of the Castro Theatre provides additional incentive, as if it’s needed, to bask in the movie-palace ambience and movie-love sentiment embodied by the venerable SFSFF. I used to think it was a nostalgia-fest for eccentric movie buffs who yearned for the past — until I attended my first show. Innovative storytelling and cinematography (showcased in flawless 35mm prints) by cinema’s most gifted pioneers is always a revelation, and the live performances of witty scores by great musicians is irresistible. Pick any program and you’re bound to have a blast, but the hot tickets are the three premiering restorations: \u003cem>The Dragon Painter\u003c/em> (1919) starring Sessue Hayakawa with musical accompaniment by the Masaru Koga Ensemble, Joseph De Grasse’s 1924 Texas oil melodrama \u003cem>Flowing Gold\u003c/em> accompanied by Utsav Lal, and the prolific-yet-underrated Allan Dwan’s unknown \u003cem>Padlocked\u003c/em> (1926) accompanied by Stephen Horne.\u003c/p>\n\u003cfigure id=\"attachment_13929551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg\" alt=\"\" width=\"800\" height=\"641\" class=\"size-medium wp-image-13929551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a still from ‘The Catskills,’ Jackie Horner (in blue dress, at left), dances with hotel staff at Grossinger’s Resort. Horner would serve as the real-life inspiration for “Baby” in the 1987 film ‘Dirty Dancing.’ \u003ccite>(Courtesy San Francisco Jewish Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/film-festival\" rel=\"noopener\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–Aug. 6 at the Castro and Vogue Theaters; also at the Piedmont Theater in Oakland\u003c/em>\u003cbr>\nThe festival has to navigate a challenging tightrope this year, marking Israel’s 75th anniversary even as an extremist right-wing government continues its clampdown on the Palestinians and seeks to constrain Israeli artists. If controversy isn’t your cup of Sanka, the festival offers several nonfiction portraits of American Jewish culture: Lex Gillespie compiles an oral history of \u003cem>The Catskills\u003c/em>, octogenarian filmmaker Ralph Arlyck disarmingly confronts aging in \u003cem>I Like It Here\u003c/em> and Ruth Reichl embarks on a cross-country odyssey among local farmers, ranchers and chefs in Laura Gabbert’s \u003cem>Food and Country\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DmNDddKcA2s\u003c/p>\n\u003ch2>\u003ca href=\"https://www.barbie-themovie.com/\">Barbie\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nGreta Gerwig’s ambitious (and possibly misguided) satire of conformity and consumerism looks like no other movie this year. Barbie (Margot Robbie) and Ken (Ryan Gosling) live their plastic existence in a cloying candy-cane dollhouse world that will either set your teeth on edge or propel you on a pastel journey for the perfect summer outfit. Will Gerwig (and co-writer and \u003cem>White Noise\u003c/em> director Noah Baumbach) eviscerate gender roles and heterosexual anxieties with laugh-out-loud precision? Or will Mattel and Warner Bros. experience buyers’ remorse for this alt-world swan dive into product placement?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYPbbksJxIg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.oppenheimermovie.com/\">Oppenheimer\u003c/a>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nChristopher Nolan fancies himself a craftier Kubrick and a smarter Spielberg, an inventor of fantastic worlds (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>, \u003cem>Tenet\u003c/em>) for adults that spin the turnstiles and spark conversations. This three-hour (!) recapitulation of the Manhattan Project, the nuclear-bomb program headed by theoretical physicist J. Robert Oppenheimer (Cillian Murphy) during World War II to defeat the Nazis, employs Nolan’s tried-and-tired formula of nonlinear story structure, gargantuan set pieces and melodramatic acting. \u003cem>A Compassionate Spy\u003c/em> (August 4) provides a nonfiction bookend: Steve James presents the perspective of young Manhattan Project physicist Ted Hall, whose concern about the U.S.’s exclusive ownership of nuclear weapons led him to pass information to the Soviet Union. Summer apocalypse, anyone?\u003c/p>\n\n",
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"subhead": "Dodge the deluge of sequels with a blockbuster with a brain, a festival or a retrospective.",
"source": "Hot Summer Guide 2023",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Last year, vaccinated against the virus and reaching escape velocity from the Netflix/Prime Video force field, audiences thronged back to theaters. It wasn’t just teenagers, either: Lobbies and aisles were crammed with adults attracted by the drumbeat of Tom Toms (Cruise in \u003cem>Top Gun: Maverick\u003c/em>, Hanks in \u003cem>Elvis\u003c/em>). \u003c/p>\n\u003cp>Hollywood’s betting even bigger this year that moviegoers want to escape to familiar places with crash-bang sequels of the \u003cem>Spider-Verse\u003c/em>, \u003cem>Transformers\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>Indiana Jones\u003c/em>, \u003cem>Teenage Mutant Ninja Turtles\u003c/em> and \u003cem>Insidious\u003c/em> variety. (Aren’t we lucky these flicks were finished before the writers went on strike!)\u003c/p>\n\u003cp>For escapism with a dash of familiarity, summer screens offer plenty of options.\u003c/p>\n\u003cfigure id=\"attachment_13929558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/invasion-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13929558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeff Goldblum and Leonard Nimoy in 1978’s ‘Invasion of the Body Snatchers.’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-invasion-of-the-body-snatchers/e486884\" rel=\"noopener\" target=\"_blank\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nJune 8–Oct. 20\u003c/em>\u003cbr>\nSan Francisco’s free annual outdoor series intriguingly matches seven movies you’ve seen (more than once, probably) to seven allusive settings. Get of your hood and head to the Presidio for the military macho of \u003cem>Top Gun: Maverick\u003c/em> (June 30) or to Dolores Park for the ABBA-infused \u003cem>Mamma Mia!\u003c/em> (Aug. 18). Philip Kaufman’s 1978 \u003cem>Invasion of the Body Snatchers\u003c/em> (June 8 at Alamo Square Park), the best film in the lineup and the only one set in San Francisco, reimagines Don Siegel’s 1956 parable of creeping small-town McCarthyism as a terrifying tale of New Age seduction and smug urban “individualism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1sgct9yCmHk'\n title='//www.youtube.com/embed/1sgct9yCmHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.magpictures.com/bluejean/\">\u003cem>Blue Jean\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nGet in gear for Pride Month — if you haven’t already been galvanized by the latest right-wing attacks on LBGTQIA+ folks — with UK writer-director Georgia Oakley’s jangly drama set in the late 1980s. Rosy McEwen plays a lesbian high school P.E. teacher who’s profoundly afraid of being exposed in Thatcher’s England, yet also excited about the love, life and community within her reach. The arrival of a new student upsets Jean’s balancing act.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hXzcyx9V0xw'\n title='//www.youtube.com/embed/hXzcyx9V0xw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Elemental\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nVeteran Pixar animator and voice actor Peter Sohn (\u003cem>The Good Dinosaur\u003c/em>) returns to the director’s chair with a fairy tale about diversity, equity and inclusiveness. Think I’m kidding? Fire, water, air and earth residents live together peaceably in the same city, explored by new pals and apparent opposites Ember and Wade. I can’t wait to see Disney’s Florida marketing campaign!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/moiRCJR4ToY'\n title='//www.youtube.com/embed/moiRCJR4ToY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Blackening\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nThe stabs at humor in summer horror films are typically broader than in their autumn cousins, but that doesn’t mean they skimp on the chills. Tracy Oliver (\u003cem>Harlem\u003c/em>) and Dewayne Perkins’s screenplay, helmed by Tim Story, reunites seven Black college friends for a Juneteenth party at the requisite cabin in the woods with the requisite slasher in the wings. Sacred and not-so-sacred genre conventions are cheerfully skewered, along with a raft of stereotypes and (unhappily) a few cast members. Presumably there are breaks in the banter so the audience can scream, “Don’t open that door!” (For fantastical fun from a different Black perspective, check out East Bay multi-talent Boots Riley’s limited series about a 13-foot-tall Oakland native, \u003cem>I’m a Virgo\u003c/em>, premiering June 23 on Prime Video.)\u003c/p>\n\u003cfigure id=\"attachment_13929555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg\" alt=\"\" width=\"800\" height=\"490\" class=\"size-medium wp-image-13929555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1536x940.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-2048x1254.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1920x1175.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Deneuve in a famous scene from Luis Buñuel’s 1967 film ‘Belle de Jour.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/luis-bunuels-magnificent-weapon\" rel=\"noopener\" target=\"_blank\">Luis Buñuel’s Magnificent Weapon\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 7–Nov. 23 at BAMPFA, Berkeley\u003c/em>\u003cbr>\nThe master of delicious perversity for half of the 20th century, Spanish-born filmmaker Luis Buñuel slid his stiletto into the fatty liver of upper-middle-class entitlement, religious hypocrisy and base sexual desire. Shocking for their time and savagely funny, Buñuel’s social satires used dream sequences and flashbacks to fracture narrative expectations. (A lifelong surrealist, his influence extends to David Lynch, Gaspar Noé and the aforementioned Mr. Riley.) BAMPFA’s retrospective begins with the brilliant ’60s and ’70s films — \u003cem>Viridiana\u003c/em>, \u003cem>Diary of a Chambermaid\u003c/em>, \u003cem>Belle de Jour\u003c/em> and \u003cem>The Discreet Charm of the Bourgeoisie\u003c/em> among them — that cemented Buñuel’s reputation and became rep house staples for a subsequent generation.\u003c/p>\n\u003cfigure id=\"attachment_13929550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg\" alt=\"A Japanese man and woman get close near a granite boulder.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13929550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1536x1068.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13.jpg 1940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sessue Hayakawa and Tsuru Aoki in ‘The Dragon Painter,’ directed by William Worthington and filmed in Yosemite National Park (standing in for Japan), 1919. A restoration of the film screens at this year’s San Francisco Silent Film Festival. \u003ccite>(Courtesy SFSFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 12–16 at the Castro Theatre\u003c/em>\u003cbr>\nThe uncertain future of the Castro Theatre provides additional incentive, as if it’s needed, to bask in the movie-palace ambience and movie-love sentiment embodied by the venerable SFSFF. I used to think it was a nostalgia-fest for eccentric movie buffs who yearned for the past — until I attended my first show. Innovative storytelling and cinematography (showcased in flawless 35mm prints) by cinema’s most gifted pioneers is always a revelation, and the live performances of witty scores by great musicians is irresistible. Pick any program and you’re bound to have a blast, but the hot tickets are the three premiering restorations: \u003cem>The Dragon Painter\u003c/em> (1919) starring Sessue Hayakawa with musical accompaniment by the Masaru Koga Ensemble, Joseph De Grasse’s 1924 Texas oil melodrama \u003cem>Flowing Gold\u003c/em> accompanied by Utsav Lal, and the prolific-yet-underrated Allan Dwan’s unknown \u003cem>Padlocked\u003c/em> (1926) accompanied by Stephen Horne.\u003c/p>\n\u003cfigure id=\"attachment_13929551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg\" alt=\"\" width=\"800\" height=\"641\" class=\"size-medium wp-image-13929551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a still from ‘The Catskills,’ Jackie Horner (in blue dress, at left), dances with hotel staff at Grossinger’s Resort. Horner would serve as the real-life inspiration for “Baby” in the 1987 film ‘Dirty Dancing.’ \u003ccite>(Courtesy San Francisco Jewish Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/film-festival\" rel=\"noopener\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–Aug. 6 at the Castro and Vogue Theaters; also at the Piedmont Theater in Oakland\u003c/em>\u003cbr>\nThe festival has to navigate a challenging tightrope this year, marking Israel’s 75th anniversary even as an extremist right-wing government continues its clampdown on the Palestinians and seeks to constrain Israeli artists. If controversy isn’t your cup of Sanka, the festival offers several nonfiction portraits of American Jewish culture: Lex Gillespie compiles an oral history of \u003cem>The Catskills\u003c/em>, octogenarian filmmaker Ralph Arlyck disarmingly confronts aging in \u003cem>I Like It Here\u003c/em> and Ruth Reichl embarks on a cross-country odyssey among local farmers, ranchers and chefs in Laura Gabbert’s \u003cem>Food and Country\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DmNDddKcA2s'\n title='//www.youtube.com/embed/DmNDddKcA2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.barbie-themovie.com/\">Barbie\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nGreta Gerwig’s ambitious (and possibly misguided) satire of conformity and consumerism looks like no other movie this year. Barbie (Margot Robbie) and Ken (Ryan Gosling) live their plastic existence in a cloying candy-cane dollhouse world that will either set your teeth on edge or propel you on a pastel journey for the perfect summer outfit. Will Gerwig (and co-writer and \u003cem>White Noise\u003c/em> director Noah Baumbach) eviscerate gender roles and heterosexual anxieties with laugh-out-loud precision? Or will Mattel and Warner Bros. experience buyers’ remorse for this alt-world swan dive into product placement?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uYPbbksJxIg'\n title='//www.youtube.com/embed/uYPbbksJxIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.oppenheimermovie.com/\">Oppenheimer\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nChristopher Nolan fancies himself a craftier Kubrick and a smarter Spielberg, an inventor of fantastic worlds (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>, \u003cem>Tenet\u003c/em>) for adults that spin the turnstiles and spark conversations. This three-hour (!) recapitulation of the Manhattan Project, the nuclear-bomb program headed by theoretical physicist J. Robert Oppenheimer (Cillian Murphy) during World War II to defeat the Nazis, employs Nolan’s tried-and-tired formula of nonlinear story structure, gargantuan set pieces and melodramatic acting. \u003cem>A Compassionate Spy\u003c/em> (August 4) provides a nonfiction bookend: Steve James presents the perspective of young Manhattan Project physicist Ted Hall, whose concern about the U.S.’s exclusive ownership of nuclear weapons led him to pass information to the Soviet Union. Summer apocalypse, anyone?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Love to Love You, Donna Summer' Documents the Disco Queen — But at a Distance",
"headTitle": "‘Love to Love You, Donna Summer’ Documents the Disco Queen — But at a Distance | KQED",
"content": "\u003cp>This may sound odd now, but when Donna Summer first hit America’s pop music charts in 1975, it was a steamy, scandalous moment.\u003c/p>\n\u003cp>Her first hit, “Love to Love You Baby,” featured Summer making noises of pleasure which sounded seriously sexual, inspiring the BBC to initially \u003ca href=\"https://www.telegraph.co.uk/music/what-to-listen-to/30-songs-banned-by-the-bbc/\">refuse to play the record \u003c/a>and interviewers to ask what exactly she was doing while tracking the vocals.\u003c/p>\n\u003cp>But as Summer explains in a clip from HBO’s documentary \u003cem>Love to Love You, Donna Summer\u003c/em>, the singer was not actually a sultry, sexy seductress.\u003c/p>\n\u003cp>“It wasn’t me, it was something I was playing,” she says. “It was a role. Everyone that knew me would call me up and say, ‘That’s not you, [moaning on the record] is it?’ Yeah, it’s me.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xQXInltKe8E\u003c/p>\n\u003ch3>A secretive artist\u003c/h3>\n\u003cp>Unfortunately, HBO’s film struggles to define who Summer actually was, despite knitting together interviews with family members, archival clips and home movie footage — all guided, in part, by her daughter Brooklyn Sudano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sudano co-directed the film with Oscar- and Emmy-winning documentarian Roger Ross Williams, searching for meaning in her mother’s story. The movie notes even Summer’s children sometimes found her tough to know — including one scene in which Sudano’s sister, Amanda Ramirez, talks about how secretive their mother could be.\u003c/p>\n\u003cp>“We were never allowed in her room; the door was always locked,” Ramirez says. “We would find out things by reading newspaper articles … I actually remember the first time that we heard ‘Love to Love You.’ Didn’t even know it existed. Brooklyn came in the room and was like, ‘Have I got a song for you to hear!'”\u003c/p>\n\u003cfigure id=\"attachment_13929374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe\" alt=\"A beautiful light-skinned Black womam with long curly hair faces forward. She is wearing a red shirt.\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-1020x768.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-768x578.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6.jpe 1142w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer’s daughter, Brooklyn Sudano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing the film does make clear: Summer’s towering abilities as a singer, performer and songwriter. It shows how she suggested the title for “Love to Love You”; was inspired by an exhausted restroom attendant to write “She Works Hard for the Money”; and co-wrote the percolating synthesizer riff which powers her 1977 hit “I Feel Love” with disco-producing legend Giorgio Moroder.\u003c/p>\n\u003cp>[aside postid='trulyca_3474']Elton John spoke about that song’s impact in a clip used by the film. “I remember when ‘I Feel Love’ came on at Studio 54,” he says. “You just stopped in your tracks. What is this? It sounded like no other record.”\u003c/p>\n\u003cp>Summer says they were going for a specific vibe in the studio. “When I went in to do it I had the sense that I was floating. And that’s what … we wanted to maintain, that floaty kind of — that elation that you feel when you’re in love.”\u003c/p>\n\u003cfigure id=\"attachment_13929375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg\" alt=\"A Black woman and white bearded man sit behind the mixing desk of a recording studio. The walls are wood paneled. \" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer in the studio with disco-producing legend Giorgio Moroder. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born LaDonna Adrian Gaines and raised in Boston, Summer grew up singing in church. Later, she moved to Germany for a production of the musical \u003cem>Hair\u003c/em> and began making records. The film offers lots of performance footage and behind-the-scenes clips, recounting her fights with her record company, abusive lovers and the struggle to be recognized as more than just a disco queen.\u003c/p>\n\u003cp>[aside postid='trulyca_3323']But perhaps because Summer held back from her family, the film rarely digs deeply into any aspect of her life before moving on. This is especially noticeable when Sudano asks her uncle Ric Gaines about allegations Summer was molested by a church pastor.\u003c/p>\n\u003cp>“It became a defining moment in her life,” Gaines says. “It’s not easy when you don’t tell or [don’t] have the ability to tell people.” But it’s tough to see exactly how this incident defined her life, or at least why her brother believed it did.\u003c/p>\n\u003cfigure id=\"attachment_13929376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg\" alt=\"A Black womam sits at a piano, hands on keys, looking sullen.\" width=\"800\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1269x1536.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0.jpg 1332w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer at her piano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A structure that feeds confusion\u003c/h3>\n\u003cp>The film’s structure doesn’t help. Subjects speaking about Summer’s life are often not shown talking on camera, so it’s difficult to know if you’re hearing an archival interview or something recorded for the film. And Sudano doesn’t reveal much about how she pulled the movie together, making it hard to judge why some elements are used the way they are.\u003c/p>\n\u003cp>[aside postid='trulyca_3390']Even Summer’s death in 2012 from lung cancer is handled obliquely, with fleeting glimpses of what she went through. Such pivotal moments deserve a bit more detail; without them, the audience remains at a distance.\u003c/p>\n\u003cp>For those who only know Summer through hits like “She Works Hard for the Money” and “Last Dance,” HBO’s film offers important context about her talent and lots of great performance footage. But like the artist herself, the film can also be maddeningly enigmatic, just when you want to know more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org/\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Love+to+You%2C+Donna+Summer%27+documents+the+disco+queen+%E2%80%94+but+at+a+distance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Love to Love You, Donna Summer’ premieres on HBO on May 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This may sound odd now, but when Donna Summer first hit America’s pop music charts in 1975, it was a steamy, scandalous moment.\u003c/p>\n\u003cp>Her first hit, “Love to Love You Baby,” featured Summer making noises of pleasure which sounded seriously sexual, inspiring the BBC to initially \u003ca href=\"https://www.telegraph.co.uk/music/what-to-listen-to/30-songs-banned-by-the-bbc/\">refuse to play the record \u003c/a>and interviewers to ask what exactly she was doing while tracking the vocals.\u003c/p>\n\u003cp>But as Summer explains in a clip from HBO’s documentary \u003cem>Love to Love You, Donna Summer\u003c/em>, the singer was not actually a sultry, sexy seductress.\u003c/p>\n\u003cp>“It wasn’t me, it was something I was playing,” she says. “It was a role. Everyone that knew me would call me up and say, ‘That’s not you, [moaning on the record] is it?’ Yeah, it’s me.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xQXInltKe8E'\n title='//www.youtube.com/embed/xQXInltKe8E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A secretive artist\u003c/h3>\n\u003cp>Unfortunately, HBO’s film struggles to define who Summer actually was, despite knitting together interviews with family members, archival clips and home movie footage — all guided, in part, by her daughter Brooklyn Sudano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sudano co-directed the film with Oscar- and Emmy-winning documentarian Roger Ross Williams, searching for meaning in her mother’s story. The movie notes even Summer’s children sometimes found her tough to know — including one scene in which Sudano’s sister, Amanda Ramirez, talks about how secretive their mother could be.\u003c/p>\n\u003cp>“We were never allowed in her room; the door was always locked,” Ramirez says. “We would find out things by reading newspaper articles … I actually remember the first time that we heard ‘Love to Love You.’ Didn’t even know it existed. Brooklyn came in the room and was like, ‘Have I got a song for you to hear!'”\u003c/p>\n\u003cfigure id=\"attachment_13929374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe\" alt=\"A beautiful light-skinned Black womam with long curly hair faces forward. She is wearing a red shirt.\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-1020x768.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-768x578.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6.jpe 1142w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer’s daughter, Brooklyn Sudano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing the film does make clear: Summer’s towering abilities as a singer, performer and songwriter. It shows how she suggested the title for “Love to Love You”; was inspired by an exhausted restroom attendant to write “She Works Hard for the Money”; and co-wrote the percolating synthesizer riff which powers her 1977 hit “I Feel Love” with disco-producing legend Giorgio Moroder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elton John spoke about that song’s impact in a clip used by the film. “I remember when ‘I Feel Love’ came on at Studio 54,” he says. “You just stopped in your tracks. What is this? It sounded like no other record.”\u003c/p>\n\u003cp>Summer says they were going for a specific vibe in the studio. “When I went in to do it I had the sense that I was floating. And that’s what … we wanted to maintain, that floaty kind of — that elation that you feel when you’re in love.”\u003c/p>\n\u003cfigure id=\"attachment_13929375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg\" alt=\"A Black woman and white bearded man sit behind the mixing desk of a recording studio. The walls are wood paneled. \" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer in the studio with disco-producing legend Giorgio Moroder. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born LaDonna Adrian Gaines and raised in Boston, Summer grew up singing in church. Later, she moved to Germany for a production of the musical \u003cem>Hair\u003c/em> and began making records. The film offers lots of performance footage and behind-the-scenes clips, recounting her fights with her record company, abusive lovers and the struggle to be recognized as more than just a disco queen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But perhaps because Summer held back from her family, the film rarely digs deeply into any aspect of her life before moving on. This is especially noticeable when Sudano asks her uncle Ric Gaines about allegations Summer was molested by a church pastor.\u003c/p>\n\u003cp>“It became a defining moment in her life,” Gaines says. “It’s not easy when you don’t tell or [don’t] have the ability to tell people.” But it’s tough to see exactly how this incident defined her life, or at least why her brother believed it did.\u003c/p>\n\u003cfigure id=\"attachment_13929376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg\" alt=\"A Black womam sits at a piano, hands on keys, looking sullen.\" width=\"800\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1269x1536.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0.jpg 1332w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer at her piano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A structure that feeds confusion\u003c/h3>\n\u003cp>The film’s structure doesn’t help. Subjects speaking about Summer’s life are often not shown talking on camera, so it’s difficult to know if you’re hearing an archival interview or something recorded for the film. And Sudano doesn’t reveal much about how she pulled the movie together, making it hard to judge why some elements are used the way they are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even Summer’s death in 2012 from lung cancer is handled obliquely, with fleeting glimpses of what she went through. Such pivotal moments deserve a bit more detail; without them, the audience remains at a distance.\u003c/p>\n\u003cp>For those who only know Summer through hits like “She Works Hard for the Money” and “Last Dance,” HBO’s film offers important context about her talent and lots of great performance footage. But like the artist herself, the film can also be maddeningly enigmatic, just when you want to know more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org/\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Love+to+You%2C+Donna+Summer%27+documents+the+disco+queen+%E2%80%94+but+at+a+distance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Love to Love You, Donna Summer’ premieres on HBO on May 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happened ‘The Night of the 12th’? A Murder Remains a Mystery in This French Film",
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"content": "\u003cp>The world is a big, unruly, ambiguous place. Which helps explain the boundless appeal of murder mysteries. Whether it’s Hercule Poirot exercising his famous little grey brain cells or all those CSI teams extracting DNA samples, mysteries offer the reassurance of seeing the messy realities of life get sorted out. When the murderer is caught, we feel that order is, at least temporarily, restored.\u003c/p>\n\u003cp>Of course, in reality, things don’t always work out so happily. The reverberations of this fact rumble through \u003cem>The Night of the 12th\u003c/em>, a skillfully turned French crime picture that swept the César awards, the French version of the Oscars.\u003c/p>\n\u003cp>Made by veteran director Dominik Moll, the movie is adapted from the work of Pauline Guéna who spent a year following members of the Paris police. Focusing on a single, real-life murder investigation she covers, Moll has created a film that keeps looking like the conventional police procedural that it actually isn’t.\u003c/p>\n\u003cp>[aside postid='arts_13929046']The action has been transposed to the picturesque Alpine city of Grenoble, where a vibrant student named Clara is walking home one night when a faceless man steps out of the darkness and sets her on fire. As it happens, this takes place on the very day that a police officer named Yohan — played by a glum faced Bastien Bouillon — has taken over the local homicide squad. Along with his bearded older sidekick Marceau — terrifically played by Bouli Lanners — Yohan sets about doing what the police do in seemingly every cop show: examining the corpse, gathering forensic evidence, informing distraught loved-ones and questioning suspects.\u003c/p>\n\u003cp>As it happens there are a few, for Clara has had a series of sexual relationships with guys who weren’t really all that nice. These include a bartender who was cheating with her on his girlfriend, a rapper who has written a song about setting Clara on fire, and a convicted domestic abuser 20 years her senior. Yohan and his crew interrogate them all, but as time passes, Yohan grows increasingly haunted by his desire to bring Clara’s killer to justice. But we know something he doesn’t. You see, Moll has told us up front that 20% of French homicides never get solved, and that this case is one of them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=58s-pXvTQss\u003c/p>\n\u003cp>Indeed, \u003cem>The Night of the 12th\u003c/em> belongs to the category of mysteries about the failure to solve a crime, a fascinating sub-genre that includes the great Sicilian police novels of Leonardo Sciascia, David Fincher’s film \u003ca href=\"https://www.npr.org/2007/03/02/7687059/obsession-drives-finchers-look-at-zodiac-killer\">\u003cem>Zodiac\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong Joon-ho\u003c/a>‘s \u003cem>Memories of Murder\u003c/em>, the best cop movie ever made.\u003c/p>\n\u003cp>Such stories replace the familiar satisfaction of seeing the murder solved with an exploration of the personal costs of failing to do so — guilt, obsession and a rending sense of futility, embodied in this film by Yohan, a dry, monk-like figure who constantly pedals his bike in furious circles around the local velodrome.\u003c/p>\n\u003cp>[aside postid='arts_13928883']Yohan’s not the only one with a feeling of futility. You sense the incessant grind of police work in all the members of his team, from the gallows humor with which they face the latest grisly sight to their reasonable complaints about broken equipment and endless paperwork. “We fight evil by writing reports,” says Marceau, a sensitive man who wanted to teach French literature but wound up as a cop who quotes the poet Verlaine and dreams of a different life.\u003c/p>\n\u003cp>What makes this particular investigation so difficult is that, Yohan thinks, “Something is amiss between men and women.” Without ever hammering away at it, the story is a study in misogyny. Marked by sexual attitudes that run from contempt to crazed infatuation, any one of the suspects could’ve murdered Clara, who was killed, says her friend Nanie, simply because she was a girl. The suspects’ outlook finds an echo in the the joky, hypermasculine homicide squad, one of whom suggests that it’s not surprising that a young woman who keeps hooking up with bad boys might wind up getting killed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, \u003cem>The Night of the 12th\u003c/em> is merely a solid movie not a great one, but it shows that French cinema — which has tended to lag in awareness about race and gender — is catching up with the ideas of the \u003ca href=\"https://www.npr.org/2022/10/28/1131500833/me-too-harvey-weinstein-anniversary\">#MeToo\u003c/a> era. It suggests that what makes this murder case especially interesting is not whodunnit, but the sexual politics underlying the crime and the investigation. As the first female detective in Yohan’s division tells him, “Isn’t it weird that most crimes are committed by men and mostly men are supposed to solve them?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+happened+%27The+Night+of+the+12th%27%3F+A+murder+remains+a+mystery+in+this+French+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world is a big, unruly, ambiguous place. Which helps explain the boundless appeal of murder mysteries. Whether it’s Hercule Poirot exercising his famous little grey brain cells or all those CSI teams extracting DNA samples, mysteries offer the reassurance of seeing the messy realities of life get sorted out. When the murderer is caught, we feel that order is, at least temporarily, restored.\u003c/p>\n\u003cp>Of course, in reality, things don’t always work out so happily. The reverberations of this fact rumble through \u003cem>The Night of the 12th\u003c/em>, a skillfully turned French crime picture that swept the César awards, the French version of the Oscars.\u003c/p>\n\u003cp>Made by veteran director Dominik Moll, the movie is adapted from the work of Pauline Guéna who spent a year following members of the Paris police. Focusing on a single, real-life murder investigation she covers, Moll has created a film that keeps looking like the conventional police procedural that it actually isn’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The action has been transposed to the picturesque Alpine city of Grenoble, where a vibrant student named Clara is walking home one night when a faceless man steps out of the darkness and sets her on fire. As it happens, this takes place on the very day that a police officer named Yohan — played by a glum faced Bastien Bouillon — has taken over the local homicide squad. Along with his bearded older sidekick Marceau — terrifically played by Bouli Lanners — Yohan sets about doing what the police do in seemingly every cop show: examining the corpse, gathering forensic evidence, informing distraught loved-ones and questioning suspects.\u003c/p>\n\u003cp>As it happens there are a few, for Clara has had a series of sexual relationships with guys who weren’t really all that nice. These include a bartender who was cheating with her on his girlfriend, a rapper who has written a song about setting Clara on fire, and a convicted domestic abuser 20 years her senior. Yohan and his crew interrogate them all, but as time passes, Yohan grows increasingly haunted by his desire to bring Clara’s killer to justice. But we know something he doesn’t. You see, Moll has told us up front that 20% of French homicides never get solved, and that this case is one of them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/58s-pXvTQss'\n title='//www.youtube.com/embed/58s-pXvTQss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, \u003cem>The Night of the 12th\u003c/em> belongs to the category of mysteries about the failure to solve a crime, a fascinating sub-genre that includes the great Sicilian police novels of Leonardo Sciascia, David Fincher’s film \u003ca href=\"https://www.npr.org/2007/03/02/7687059/obsession-drives-finchers-look-at-zodiac-killer\">\u003cem>Zodiac\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong Joon-ho\u003c/a>‘s \u003cem>Memories of Murder\u003c/em>, the best cop movie ever made.\u003c/p>\n\u003cp>Such stories replace the familiar satisfaction of seeing the murder solved with an exploration of the personal costs of failing to do so — guilt, obsession and a rending sense of futility, embodied in this film by Yohan, a dry, monk-like figure who constantly pedals his bike in furious circles around the local velodrome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yohan’s not the only one with a feeling of futility. You sense the incessant grind of police work in all the members of his team, from the gallows humor with which they face the latest grisly sight to their reasonable complaints about broken equipment and endless paperwork. “We fight evil by writing reports,” says Marceau, a sensitive man who wanted to teach French literature but wound up as a cop who quotes the poet Verlaine and dreams of a different life.\u003c/p>\n\u003cp>What makes this particular investigation so difficult is that, Yohan thinks, “Something is amiss between men and women.” Without ever hammering away at it, the story is a study in misogyny. Marked by sexual attitudes that run from contempt to crazed infatuation, any one of the suspects could’ve murdered Clara, who was killed, says her friend Nanie, simply because she was a girl. The suspects’ outlook finds an echo in the the joky, hypermasculine homicide squad, one of whom suggests that it’s not surprising that a young woman who keeps hooking up with bad boys might wind up getting killed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, \u003cem>The Night of the 12th\u003c/em> is merely a solid movie not a great one, but it shows that French cinema — which has tended to lag in awareness about race and gender — is catching up with the ideas of the \u003ca href=\"https://www.npr.org/2022/10/28/1131500833/me-too-harvey-weinstein-anniversary\">#MeToo\u003c/a> era. It suggests that what makes this murder case especially interesting is not whodunnit, but the sexual politics underlying the crime and the investigation. As the first female detective in Yohan’s division tells him, “Isn’t it weird that most crimes are committed by men and mostly men are supposed to solve them?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+happened+%27The+Night+of+the+12th%27%3F+A+murder+remains+a+mystery+in+this+French+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Crossings’ Continues Deann Borshay Liem’s Career-Spanning Korea Project",
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"content": "\u003cp>In 2000, Deann Borshay Liem’s revelatory debut, \u003cem>First Person Plural\u003c/em>, recounted her experiences as a Korean adoptee growing up in the East Bay suburbs and then looking for her birth family as an adult. \u003c/p>\n\u003cp>A landmark of personal documentary, the film (which premiered at Sundance, aired nationally on PBS and is well worth watching on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/49880\">Kanopy\u003c/a>) painted a complicated picture of identity and aspirational assimilation (crystallized by Borshay’s acceptance as a UC Berkeley cheerleader) while exposing the buried transnational history of Korean adoption in the 1950s and ’60s.\u003c/p>\n\u003cp>Liem continued to mine her life, and face uncomfortable truths about Korea’s adoption campaign, in her 2010 follow-up \u003cem>In the Matter of Cha Jung Hee\u003c/em> (also on Kanopy) and \u003cem>Geographies of Kinship\u003c/em> (2019). The ad hoc trilogy powerfully conveys how distant and seemingly concluded events relegated to a couple sentences in a history book reverberate forever in countless lives and families.\u003c/p>\n\u003cfigure id=\"attachment_13929057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13929057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In reflecting on the works that I’ve directed, it turns out all of them touch on the Korean War,” Liem says today. “It wasn’t that I intended to make films that address the war in the beginning. Now I understand: It is the singular trauma of my generation, and the generation that preceded me, and also after me. It’s the event that formed who I am, that brought me to this country and it’s the root of the Korean-American community in the United States.”\u003c/p>\n\u003cp>Liem was the natural filmmaker to document Women Cross DMZ, Korean-American activist Christine Ahn’s ambitious and fraught 2015 undertaking — with 30 women peace activists from 13 countries — to walk from North Korea to South Korea across the demilitarized zone. Long delayed, yet sadly still timely, \u003cem>Crossings\u003c/em> concludes its festival run May 13 in CAAMFest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Crossings\u003c/em> deftly recounts the group’s step-by-step adjustments to the obstacles thrown at them. While it’s tempting to laugh at diplomatic and political absurdity, the respective governments were not amused by Women Cross DMZ’s symbolic gambit to temporarily erase the border between North and South Korea.\u003c/p>\n\u003cfigure id=\"attachment_13929059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg\" alt=\"\" width=\"800\" height=\"472\" class=\"size-medium wp-image-13929059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1536x906.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahn’s tested cohorts include Nobel Laureates Leymah Gbowee of Liberia and Mairead Maguire of Northern Ireland, alongside women’s movement pioneer Gloria Steinem and Code Pink co-founder Medea Benjamin. The group’s goal of advancing peace is rooted in the overriding yet largely unknown fact that a peace agreement was never signed when the conflict was stopped in 1950.\u003c/p>\n\u003cp>“The Korean War literally did not end,” Liem explains. “We have this armistice that suspended the fighting but no formal peace. The war in many ways is still being prosecuted through policies of isolation, sanctions and threats of military strikes. It’s important to shed light on the U.S. role, not only in dividing the peninsula but continuing the status quo of unresolved conflict. The U.S. can play such a critical role in whether progress is made toward reconciliation and peace, or not.”\u003c/p>\n\u003cp>For precisely that reason, Liem says, she made \u003cem>Crossings\u003c/em> for an American audience. She gives Steinem — the best-known figure to U.S. viewers — ample screen time, without overstating or misrepresenting her influence among the coterie of strong, strategic women from abroad.\u003c/p>\n\u003cp>While the Women Cross DMZ activists in the film discuss and debate countermoves to logistical hurdles, they weigh how the media (in South and North Korea, to be sure, but all over the world) will spin their words and actions. Yet they are still blindsided when an innocuous comment by Christine Ahn at a group visit to supreme leader Kim Jong-Un’s birthplace — chosen by the activists instead of a proffered, propagandist statue visit — is portrayed by South Korean journalists as sympathetic to the North Korea regime.\u003c/p>\n\u003cfigure id=\"attachment_13929058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg\" alt=\"\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13929058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1536x908.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Stephen Wunrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whenever U.S.-North Korea conflicts arise, we typically see goose-stepping soldiers on Kim Il Sung Plaza or shots of Kim Jung Un that are not very favorable — certain sets of shots that are repeated over and over again,” the soft-spoken Berkeley filmmaker says. “There just isn’t much available, right? I call it North Korea wallpaper: Images that reinforce what we think we know, and what we think we know is very limited and infused with both racial stereotypes and specific stereotypes about the North Korean people.”\u003c/p>\n\u003cp>Much of \u003cem>Crossings\u003c/em> unfolds in North Korea, which gives viewers a nearly unknown perspective of the country and its people that runs against certain preconceptions. At a symposium in Pyongyang attended by the activists, an elderly North Korean woman describes the mutilations she received from a GI during the war. When the Women Cross DMZ group has opportunities to interact with people in public in North Korea, they (and we) judge the local women’s spontaneity and authenticity.\u003c/p>\n\u003cp>[aside postID='arts_12929599']“My initial interest,” Liem says, “was are the [activists] going to cross the DMZ? What do they have to do to cross? How are they going to negotiate the different approvals from North, South, the UN Command? What would their conversations be like at night, behind closed doors? But ultimately I became very interested in a different question: Could the women actually see the North Korean people as human beings? Could they see their humanity and what would that look like?”\u003c/p>\n\u003cp>Liem adds, “I understood at some point that the women were struggling with their presence in the North and struggling with their own values. You come with so many preconceptions, you don’t trust anything people are saying. How do you understand what you’re experiencing? Was there a way my audience — peace activists, feminists — could see North Korea through these people’s eyes?”\u003c/p>\n\u003cp>This derives from Americans’ view of North Korea as an authoritarian state, but it’s also rooted in the way that country has been identified as an enemy of the United States for 75 years. And yet the Korean War is, in the American imagination, the forgotten war. A million North Koreans and two million South Koreans died, along with a million Chinese.\u003c/p>\n\u003cp>“This is a trauma that is seared into the collective consciousness of the Korean people,” Liem says, “and the Chinese people, actually.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Crossings’ screens at 5:30 p.m. on Saturday, May 13, at the Great Star Theater in San Francisco. \u003ca href=\"https://caamfest.com/2023/movies/crossings/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. The film will air on the World Channel in July, coinciding with the 75th anniversary of the armistice.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Liem’s film follows the obstacles women activists face while crossing between North and South Korea.",
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"title": "‘Crossings’ Continues Deann Borshay Liem’s Career-Spanning Korea Project | KQED",
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"subhead": "CAAMFest screens the East Bay filmmaker's documentary about women peace activists traversing the DMZ in 2015.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2000, Deann Borshay Liem’s revelatory debut, \u003cem>First Person Plural\u003c/em>, recounted her experiences as a Korean adoptee growing up in the East Bay suburbs and then looking for her birth family as an adult. \u003c/p>\n\u003cp>A landmark of personal documentary, the film (which premiered at Sundance, aired nationally on PBS and is well worth watching on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/49880\">Kanopy\u003c/a>) painted a complicated picture of identity and aspirational assimilation (crystallized by Borshay’s acceptance as a UC Berkeley cheerleader) while exposing the buried transnational history of Korean adoption in the 1950s and ’60s.\u003c/p>\n\u003cp>Liem continued to mine her life, and face uncomfortable truths about Korea’s adoption campaign, in her 2010 follow-up \u003cem>In the Matter of Cha Jung Hee\u003c/em> (also on Kanopy) and \u003cem>Geographies of Kinship\u003c/em> (2019). The ad hoc trilogy powerfully conveys how distant and seemingly concluded events relegated to a couple sentences in a history book reverberate forever in countless lives and families.\u003c/p>\n\u003cfigure id=\"attachment_13929057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13929057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In reflecting on the works that I’ve directed, it turns out all of them touch on the Korean War,” Liem says today. “It wasn’t that I intended to make films that address the war in the beginning. Now I understand: It is the singular trauma of my generation, and the generation that preceded me, and also after me. It’s the event that formed who I am, that brought me to this country and it’s the root of the Korean-American community in the United States.”\u003c/p>\n\u003cp>Liem was the natural filmmaker to document Women Cross DMZ, Korean-American activist Christine Ahn’s ambitious and fraught 2015 undertaking — with 30 women peace activists from 13 countries — to walk from North Korea to South Korea across the demilitarized zone. Long delayed, yet sadly still timely, \u003cem>Crossings\u003c/em> concludes its festival run May 13 in CAAMFest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Crossings\u003c/em> deftly recounts the group’s step-by-step adjustments to the obstacles thrown at them. While it’s tempting to laugh at diplomatic and political absurdity, the respective governments were not amused by Women Cross DMZ’s symbolic gambit to temporarily erase the border between North and South Korea.\u003c/p>\n\u003cfigure id=\"attachment_13929059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg\" alt=\"\" width=\"800\" height=\"472\" class=\"size-medium wp-image-13929059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1536x906.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahn’s tested cohorts include Nobel Laureates Leymah Gbowee of Liberia and Mairead Maguire of Northern Ireland, alongside women’s movement pioneer Gloria Steinem and Code Pink co-founder Medea Benjamin. The group’s goal of advancing peace is rooted in the overriding yet largely unknown fact that a peace agreement was never signed when the conflict was stopped in 1950.\u003c/p>\n\u003cp>“The Korean War literally did not end,” Liem explains. “We have this armistice that suspended the fighting but no formal peace. The war in many ways is still being prosecuted through policies of isolation, sanctions and threats of military strikes. It’s important to shed light on the U.S. role, not only in dividing the peninsula but continuing the status quo of unresolved conflict. The U.S. can play such a critical role in whether progress is made toward reconciliation and peace, or not.”\u003c/p>\n\u003cp>For precisely that reason, Liem says, she made \u003cem>Crossings\u003c/em> for an American audience. She gives Steinem — the best-known figure to U.S. viewers — ample screen time, without overstating or misrepresenting her influence among the coterie of strong, strategic women from abroad.\u003c/p>\n\u003cp>While the Women Cross DMZ activists in the film discuss and debate countermoves to logistical hurdles, they weigh how the media (in South and North Korea, to be sure, but all over the world) will spin their words and actions. Yet they are still blindsided when an innocuous comment by Christine Ahn at a group visit to supreme leader Kim Jong-Un’s birthplace — chosen by the activists instead of a proffered, propagandist statue visit — is portrayed by South Korean journalists as sympathetic to the North Korea regime.\u003c/p>\n\u003cfigure id=\"attachment_13929058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg\" alt=\"\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13929058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1536x908.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Stephen Wunrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whenever U.S.-North Korea conflicts arise, we typically see goose-stepping soldiers on Kim Il Sung Plaza or shots of Kim Jung Un that are not very favorable — certain sets of shots that are repeated over and over again,” the soft-spoken Berkeley filmmaker says. “There just isn’t much available, right? I call it North Korea wallpaper: Images that reinforce what we think we know, and what we think we know is very limited and infused with both racial stereotypes and specific stereotypes about the North Korean people.”\u003c/p>\n\u003cp>Much of \u003cem>Crossings\u003c/em> unfolds in North Korea, which gives viewers a nearly unknown perspective of the country and its people that runs against certain preconceptions. At a symposium in Pyongyang attended by the activists, an elderly North Korean woman describes the mutilations she received from a GI during the war. When the Women Cross DMZ group has opportunities to interact with people in public in North Korea, they (and we) judge the local women’s spontaneity and authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“My initial interest,” Liem says, “was are the [activists] going to cross the DMZ? What do they have to do to cross? How are they going to negotiate the different approvals from North, South, the UN Command? What would their conversations be like at night, behind closed doors? But ultimately I became very interested in a different question: Could the women actually see the North Korean people as human beings? Could they see their humanity and what would that look like?”\u003c/p>\n\u003cp>Liem adds, “I understood at some point that the women were struggling with their presence in the North and struggling with their own values. You come with so many preconceptions, you don’t trust anything people are saying. How do you understand what you’re experiencing? Was there a way my audience — peace activists, feminists — could see North Korea through these people’s eyes?”\u003c/p>\n\u003cp>This derives from Americans’ view of North Korea as an authoritarian state, but it’s also rooted in the way that country has been identified as an enemy of the United States for 75 years. And yet the Korean War is, in the American imagination, the forgotten war. A million North Koreans and two million South Koreans died, along with a million Chinese.\u003c/p>\n\u003cp>“This is a trauma that is seared into the collective consciousness of the Korean people,” Liem says, “and the Chinese people, actually.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Crossings’ screens at 5:30 p.m. on Saturday, May 13, at the Great Star Theater in San Francisco. \u003ca href=\"https://caamfest.com/2023/movies/crossings/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. The film will air on the World Channel in July, coinciding with the 75th anniversary of the armistice.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From ‘Psycho’ to a New Crop of Horror Movies, the Genre Has Some Mommy Issues",
"headTitle": "From ‘Psycho’ to a New Crop of Horror Movies, the Genre Has Some Mommy Issues | KQED",
"content": "\u003cp>If you’re stumped for how to spend this Mother’s Day, consider relishing a good scare. Since the genre’s inception, horror movies have tapped into the psychological trauma and terror that can only come from a mother, and a number of recent films are embracing that time-honored tradition.\u003c/p>\n\u003cp>[aside postid='arts_13928607']Take, for example, Brandon Cronenberg’s \u003cem>Infinity Pool\u003c/em>, which became one of the buzziest films to come out of this year’s Sundance Film Festival.\u003c/p>\n\u003cp>It’s no surprise it was replete with disturbing moments. The director, after all, has surely learned a thing or two from his filmmaker dad and giant of the genre, David Cronenberg.\u003c/p>\n\u003cp>In one talked-about scene, Gabi (Mia Goth) exposes her bare chest to James (Alexander Skarsgård) in an invitation to breastfeed, revealing a complicated tension between his actual mother and his understanding of Gabi as his new one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PVnIMvVEkrA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the genre has often been dismissed as low-brow, Adam Lowenstein, a film and media studies professor at the University of Pittsburgh who specializes in horror, said it is well-suited for grappling with these kinds of deep-seated, psychological issues.\u003c/p>\n\u003cp>“Horror is, at its core, a very primal genre,” he said. “It makes absolute sense that things like family, sex, death would all be things that the horror film is constantly mining because those are primal fascinations and experiences.”\u003c/p>\n\u003cp>Perhaps the seminal example of mommy issues in a horror film is Alfred Hitchcock’s \u003cem>Psycho\u003c/em> (1960).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xWHYmNrAFlI\u003c/p>\n\u003cp>In it, the infamous Norman Bates of the Bates Motel develops a split personality after killing his controlling mom and her lover out of jealousy. His grief and guilt cause him to keep her corpse stashed away, and assume her personality when he commits violence against women he becomes attracted to.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Part of what makes the maternal bond such a fertile one for exploring psychological trauma, Lowenstein said, is that it is so universal and freighted.\u003c/p>\n\u003cp>“We all have real mothers, just the way we have real constructs about motherhood that we subscribe to. And these things are very hard to separate,” he said. The gap between expectation and reality becomes fruitful territory for a good scare.\u003c/p>\n\u003cp>Zach Cregger’s \u003cem>Barbarian\u003c/em> (2022) also turns breastfeeding into a spectacle, not from an inviting yet depraved sexual partner as in \u003cem>Infinity Pool\u003c/em>, but from a monstrous maternal creature who forces her victims to feast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BqQNO7BzN08\u003c/p>\n\u003cp>Other films let the dynamic between mother and child carry the drama. \u003cem>Evil Dead Rise\u003c/em>, now available to rent on streaming services, plays with the fear-inducing extreme of a mom being possessed by a demon.\u003c/p>\n\u003cp>“I think it’s very terrifying to imagine somebody so familiar to you in your world becoming a subversion of that, and becoming something really dangerous and evil,” said director Lee Cronin. “It just lent itself to this exploration of maternal fears and what it might mean if your mother was to turn on you.”\u003c/p>\n\u003cp>In Ari Aster’s new \u003cem>Beau is Afraid\u003c/em>, the central theme is the fear and pain that can come from the mother-child bond. The movie — about a man trying to get to his mom’s house — is as much a surrealist epic as it is a horror movie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PuiWDn976Ek\u003c/p>\n\u003cp>And while Aster’s third movie is admittedly less scary than his \u003cem>Midsommar\u003c/em> or \u003cem>Hereditary\u003c/em>, another film that exploits the terrors of family dynamics and mother-induced trauma, it is safe to conclude by the end that Beau’s fear of his guilt-inducing mother was warranted.\u003c/p>\n\u003cp>“When I left \u003cem>Beau Is Afraid\u003c/em>, I heard a teenage woman ahead of me walking out of the theater saying to her friends, ‘That just made me want to call my mom and say I’m sorry for everything,’” Lowenstein recounted. “We think horror and we think fear and dread and haunting, but we don’t necessarily think guilt, shame, humiliation. And Ari Aster clearly understands the connection between these things.”\u003c/p>\n\u003cp>It is not insignificant that almost all of these scary movies about protagonists’ relationships with their mothers are directed by men.\u003c/p>\n\u003cp>[aside postid='arts_13923159']But Lowenstein maintains that the genre’s mommy issues began with a woman, and long before film: Mary Shelley’s classic 1818 horror novel, \u003cem>Frankenstein\u003c/em>, is often considered to be the inception of modern horror.\u003c/p>\n\u003cp>“Her story is about a man who wants to be God, but he also wants to be a mother. Really, he wants to create life without the intervention of women,” he said. “What Mary Shelley shows us is what a bad idea this really is, and how male hubris really does monstrous things with motherhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Happy Mother's Day! Horror has long been preoccupied with mother-child dynamics. These are the movies that do it best.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re stumped for how to spend this Mother’s Day, consider relishing a good scare. Since the genre’s inception, horror movies have tapped into the psychological trauma and terror that can only come from a mother, and a number of recent films are embracing that time-honored tradition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Take, for example, Brandon Cronenberg’s \u003cem>Infinity Pool\u003c/em>, which became one of the buzziest films to come out of this year’s Sundance Film Festival.\u003c/p>\n\u003cp>It’s no surprise it was replete with disturbing moments. The director, after all, has surely learned a thing or two from his filmmaker dad and giant of the genre, David Cronenberg.\u003c/p>\n\u003cp>In one talked-about scene, Gabi (Mia Goth) exposes her bare chest to James (Alexander Skarsgård) in an invitation to breastfeed, revealing a complicated tension between his actual mother and his understanding of Gabi as his new one.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PVnIMvVEkrA'\n title='//www.youtube.com/embed/PVnIMvVEkrA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the genre has often been dismissed as low-brow, Adam Lowenstein, a film and media studies professor at the University of Pittsburgh who specializes in horror, said it is well-suited for grappling with these kinds of deep-seated, psychological issues.\u003c/p>\n\u003cp>“Horror is, at its core, a very primal genre,” he said. “It makes absolute sense that things like family, sex, death would all be things that the horror film is constantly mining because those are primal fascinations and experiences.”\u003c/p>\n\u003cp>Perhaps the seminal example of mommy issues in a horror film is Alfred Hitchcock’s \u003cem>Psycho\u003c/em> (1960).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xWHYmNrAFlI'\n title='//www.youtube.com/embed/xWHYmNrAFlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In it, the infamous Norman Bates of the Bates Motel develops a split personality after killing his controlling mom and her lover out of jealousy. His grief and guilt cause him to keep her corpse stashed away, and assume her personality when he commits violence against women he becomes attracted to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of what makes the maternal bond such a fertile one for exploring psychological trauma, Lowenstein said, is that it is so universal and freighted.\u003c/p>\n\u003cp>“We all have real mothers, just the way we have real constructs about motherhood that we subscribe to. And these things are very hard to separate,” he said. The gap between expectation and reality becomes fruitful territory for a good scare.\u003c/p>\n\u003cp>Zach Cregger’s \u003cem>Barbarian\u003c/em> (2022) also turns breastfeeding into a spectacle, not from an inviting yet depraved sexual partner as in \u003cem>Infinity Pool\u003c/em>, but from a monstrous maternal creature who forces her victims to feast.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BqQNO7BzN08'\n title='//www.youtube.com/embed/BqQNO7BzN08'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other films let the dynamic between mother and child carry the drama. \u003cem>Evil Dead Rise\u003c/em>, now available to rent on streaming services, plays with the fear-inducing extreme of a mom being possessed by a demon.\u003c/p>\n\u003cp>“I think it’s very terrifying to imagine somebody so familiar to you in your world becoming a subversion of that, and becoming something really dangerous and evil,” said director Lee Cronin. “It just lent itself to this exploration of maternal fears and what it might mean if your mother was to turn on you.”\u003c/p>\n\u003cp>In Ari Aster’s new \u003cem>Beau is Afraid\u003c/em>, the central theme is the fear and pain that can come from the mother-child bond. The movie — about a man trying to get to his mom’s house — is as much a surrealist epic as it is a horror movie.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PuiWDn976Ek'\n title='//www.youtube.com/embed/PuiWDn976Ek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Aster’s third movie is admittedly less scary than his \u003cem>Midsommar\u003c/em> or \u003cem>Hereditary\u003c/em>, another film that exploits the terrors of family dynamics and mother-induced trauma, it is safe to conclude by the end that Beau’s fear of his guilt-inducing mother was warranted.\u003c/p>\n\u003cp>“When I left \u003cem>Beau Is Afraid\u003c/em>, I heard a teenage woman ahead of me walking out of the theater saying to her friends, ‘That just made me want to call my mom and say I’m sorry for everything,’” Lowenstein recounted. “We think horror and we think fear and dread and haunting, but we don’t necessarily think guilt, shame, humiliation. And Ari Aster clearly understands the connection between these things.”\u003c/p>\n\u003cp>It is not insignificant that almost all of these scary movies about protagonists’ relationships with their mothers are directed by men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Lowenstein maintains that the genre’s mommy issues began with a woman, and long before film: Mary Shelley’s classic 1818 horror novel, \u003cem>Frankenstein\u003c/em>, is often considered to be the inception of modern horror.\u003c/p>\n\u003cp>“Her story is about a man who wants to be God, but he also wants to be a mother. Really, he wants to create life without the intervention of women,” he said. “What Mary Shelley shows us is what a bad idea this really is, and how male hubris really does monstrous things with motherhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Hanks Has Starred in Dozens of Movies. Now He's Written a Novel Too",
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"content": "\u003cp>The numbers speak for themselves: More than 100 movies in over 45 years of acting. Now Tom Hanks is drawing on all that experience to craft a story in a very different medium. He used some of the pandemic slowdown to write a novel. Titled \u003cem>The Making of Another Major Motion Picture Masterpiece\u003c/em>, it tells the story of a comic strip that becomes a multimillion-dollar superhero movie.\u003c/p>\n\u003cp>[aside postid='arts_13928562']The book spans seven decades, starting in 1947 when a U.S. Marine who served as a flamethrower returns from fighting in World War II. The uncle makes such a strong impression on his 5-year-old nephew that he makes him the superhero in a comic strip; eventually, that comic becomes the foundation of a blockbuster movie franchise, set in the present day.\u003c/p>\n\u003cp>The novel explores every step of the making of a movie: from a difficult leading actor, to eccentric writers and countless behind-the-scenes workers. Hanks says fleshing out the details was not hard for him. “I’ve got anecdotes galore,” he tells \u003cem>Morning Edition\u003c/em>‘s A Martinez.\u003c/p>\n\u003cp>All the actions and characters in his novel are drawn from the real-life experience of making a movie, he says. And he purposely focuses not only on the stars, but on the people working behind the scenes.\u003c/p>\n\u003cfigure id=\"attachment_13928885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg\" alt=\"A book cover with an illustration of the rearview of a man walking along a road.\" width=\"800\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1020x1492.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1050x1536.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1401x2048.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1920x2808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-scaled.jpg 1751w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has written a first novel, drawing on his decades in the movie industry. \u003ccite>(Alfred A. Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If someone is going to ask me what is the surefire way that I get to Hollywood, I would have two answers,” Hanks says. “One is as Bette Davis said, take Fountain [Boulevard]. But the other one is to solve problems.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, Hanks hopes to challenge people’s perceptions about how movies are made.\u003c/p>\n\u003cp>[aside postid='arts_13928445']“Most people think that a movie reels out like a Broadway play does or a performance of an opera. Everybody knows exactly what they are, where they need to be, how they need to do it,” he says. “But movies are a long series of accidents that you don’t expect, as well as, occasionally, something that goes off exactly as you planned. It’s all things all at the same time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanks offered this statement about the ongoing Hollywood writers strike: “I am a member of every guild there is, and there is no doubt that the economics of our business has changed in the last few years. These changes affect everybody in the making of a Motion Picture Masterpiece — and something needs to be worked out now.”\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks+has+starred+in+dozens+of+movies.+Now+he%27s+written+a+novel+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The numbers speak for themselves: More than 100 movies in over 45 years of acting. Now Tom Hanks is drawing on all that experience to craft a story in a very different medium. He used some of the pandemic slowdown to write a novel. Titled \u003cem>The Making of Another Major Motion Picture Masterpiece\u003c/em>, it tells the story of a comic strip that becomes a multimillion-dollar superhero movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book spans seven decades, starting in 1947 when a U.S. Marine who served as a flamethrower returns from fighting in World War II. The uncle makes such a strong impression on his 5-year-old nephew that he makes him the superhero in a comic strip; eventually, that comic becomes the foundation of a blockbuster movie franchise, set in the present day.\u003c/p>\n\u003cp>The novel explores every step of the making of a movie: from a difficult leading actor, to eccentric writers and countless behind-the-scenes workers. Hanks says fleshing out the details was not hard for him. “I’ve got anecdotes galore,” he tells \u003cem>Morning Edition\u003c/em>‘s A Martinez.\u003c/p>\n\u003cp>All the actions and characters in his novel are drawn from the real-life experience of making a movie, he says. And he purposely focuses not only on the stars, but on the people working behind the scenes.\u003c/p>\n\u003cfigure id=\"attachment_13928885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg\" alt=\"A book cover with an illustration of the rearview of a man walking along a road.\" width=\"800\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1020x1492.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1050x1536.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1401x2048.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1920x2808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-scaled.jpg 1751w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has written a first novel, drawing on his decades in the movie industry. \u003ccite>(Alfred A. Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If someone is going to ask me what is the surefire way that I get to Hollywood, I would have two answers,” Hanks says. “One is as Bette Davis said, take Fountain [Boulevard]. But the other one is to solve problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Hanks hopes to challenge people’s perceptions about how movies are made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Most people think that a movie reels out like a Broadway play does or a performance of an opera. Everybody knows exactly what they are, where they need to be, how they need to do it,” he says. “But movies are a long series of accidents that you don’t expect, as well as, occasionally, something that goes off exactly as you planned. It’s all things all at the same time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanks offered this statement about the ongoing Hollywood writers strike: “I am a member of every guild there is, and there is no doubt that the economics of our business has changed in the last few years. These changes affect everybody in the making of a Motion Picture Masterpiece — and something needs to be worked out now.”\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks+has+starred+in+dozens+of+movies.+Now+he%27s+written+a+novel+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Picket Signs of the Hollywood Writers’ Strike",
"headTitle": "The Best Picket Signs of the Hollywood Writers’ Strike | KQED",
"content": "\u003cp>As the \u003ca href=\"https://www.npr.org/2023/05/02/1172876800/writers-guild-calls-strike\">Writers Guild of America strike\u003c/a> continues into its third day, the jokes aren’t on late night TV anymore — they’re on the picket lines.\u003c/p>\n\u003cp>More than 11,000 movie and television writers have stopped working after contract negotiations stalled out between their union and the Alliance of Motion Picture and Television Producers, the trade association that represents Hollywood’s studios and production companies.\u003c/p>\n\u003cp>[aside postid='arts_13928545']\u003ca href=\"https://www.npr.org/2023/05/03/1173552824/what-writers-strike-means-for-viewers\">The standoff\u003c/a> could last months and shut down Hollywood production. (The \u003ca href=\"https://www.npr.org/2023/05/03/1173439467/writers-guild-strike-2023-comparison-2007\">last writers’ strike\u003c/a> lasted from November 2007 into February 2008.) Some of the \u003ca href=\"https://www.wga.org/uploadedfiles/members/member_info/contract-2023/WGA_proposals.pdf\">sticking points include\u003c/a> questions over staffing levels for new TV programs and income from episodes aired on streaming services.\u003c/p>\n\u003cp>Since the strike kicked off Tuesday, hundreds of writers have picketed in the Los Angeles area and in New York, outside the studios and offices of Netflix, NBCUniversal, Disney, Sony, Paramount, Warner Bros. and others.\u003c/p>\n\u003cp>Among the signs were jokes about the artificial intelligence service \u003ca href=\"https://www.npr.org/2023/02/02/1152481564/we-asked-the-new-ai-to-do-some-simple-rocket-science-it-crashed-and-burned\">ChatGPT\u003c/a>, the wealth of studio executives and many, many references to the HBO hit \u003ca href=\"https://www.npr.org/2023/03/22/1165032183/succession-season-4-review\">\u003cem>Succession\u003c/em>\u003c/a>. Here are some of our favorites:\u003c/p>\n\u003cfigure id=\"attachment_13928704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg\" alt='Protesters on a picket line. Signs read: \"Writers Guild of America on Strike!\" and \"Without writers, Meredith Grey would not be a surgeon, no students could attend Abbot Elementary and Logan Roy would be alive!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picketer at Paramount Studios in Los Angeles carries a sign with references to the television shows ‘Grey’s Anatomy,’ ‘Abbott Elementary’ and ‘Succession.’ \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/NazaninNour/status/1653916450858446848\u003c/p>\n\u003cfigure id=\"attachment_13928705\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg\" alt='Protesters on picket lines carry signs that read: \"Succession without writers is just The Apprentice — and look how well that turned out\" and \"Wrote ChatGPT This.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On left, a picket sign outside Netflix headquarters in Hollywood. On right, writer K.C. Scott pickets outside Amazon Studios in Culver City, California. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/EmmaTolkin/status/1653496828665683969\u003c/p>\n\u003cfigure id=\"attachment_13928706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg\" alt=\"A protester on a picket line holds up a sign that reads: "You're gonna be the villains in the limited series about this!"\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1536x1160.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Netflix headquarters in Hollywood on the first day of the writer’s strike. \u003ccite>(Mandalit del Barco/NPR News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/MasonLieberman/status/1653915636660326402\u003c/p>\n\u003cfigure id=\"attachment_13928707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg\" alt='A Writers Guild of America striker holds up a sign that says: \"You came up with Quibi.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Jono Matt holds a sign referring to the short-lived streaming service Quibi at the WGA picket line outside Warner Bros. Studios in Burbank. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/jennyyangtv/status/1653856504821456897\u003c/p>\n\u003cfigure id=\"attachment_13928708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-800x533.jpg\" alt='Writers Guild of America picketers gather. One holds up a sign reading: \"I told ChatGPT to write a picket sign and it sucked.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WGA protest outside the Netflix headquarters in New York City. \u003ccite>(AP Photo/Stefan Jeremiah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/marinarachael/status/1653560546405515264\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+best+picket+signs+of+the+Hollywood+writers%27+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the \u003ca href=\"https://www.npr.org/2023/05/02/1172876800/writers-guild-calls-strike\">Writers Guild of America strike\u003c/a> continues into its third day, the jokes aren’t on late night TV anymore — they’re on the picket lines.\u003c/p>\n\u003cp>More than 11,000 movie and television writers have stopped working after contract negotiations stalled out between their union and the Alliance of Motion Picture and Television Producers, the trade association that represents Hollywood’s studios and production companies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/05/03/1173552824/what-writers-strike-means-for-viewers\">The standoff\u003c/a> could last months and shut down Hollywood production. (The \u003ca href=\"https://www.npr.org/2023/05/03/1173439467/writers-guild-strike-2023-comparison-2007\">last writers’ strike\u003c/a> lasted from November 2007 into February 2008.) Some of the \u003ca href=\"https://www.wga.org/uploadedfiles/members/member_info/contract-2023/WGA_proposals.pdf\">sticking points include\u003c/a> questions over staffing levels for new TV programs and income from episodes aired on streaming services.\u003c/p>\n\u003cp>Since the strike kicked off Tuesday, hundreds of writers have picketed in the Los Angeles area and in New York, outside the studios and offices of Netflix, NBCUniversal, Disney, Sony, Paramount, Warner Bros. and others.\u003c/p>\n\u003cp>Among the signs were jokes about the artificial intelligence service \u003ca href=\"https://www.npr.org/2023/02/02/1152481564/we-asked-the-new-ai-to-do-some-simple-rocket-science-it-crashed-and-burned\">ChatGPT\u003c/a>, the wealth of studio executives and many, many references to the HBO hit \u003ca href=\"https://www.npr.org/2023/03/22/1165032183/succession-season-4-review\">\u003cem>Succession\u003c/em>\u003c/a>. Here are some of our favorites:\u003c/p>\n\u003cfigure id=\"attachment_13928704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg\" alt='Protesters on a picket line. Signs read: \"Writers Guild of America on Strike!\" and \"Without writers, Meredith Grey would not be a surgeon, no students could attend Abbot Elementary and Logan Roy would be alive!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picketer at Paramount Studios in Los Angeles carries a sign with references to the television shows ‘Grey’s Anatomy,’ ‘Abbott Elementary’ and ‘Succession.’ \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_13928705\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg\" alt='Protesters on picket lines carry signs that read: \"Succession without writers is just The Apprentice — and look how well that turned out\" and \"Wrote ChatGPT This.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On left, a picket sign outside Netflix headquarters in Hollywood. On right, writer K.C. Scott pickets outside Amazon Studios in Culver City, California. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_13928706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg\" alt=\"A protester on a picket line holds up a sign that reads: "You're gonna be the villains in the limited series about this!"\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1536x1160.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Netflix headquarters in Hollywood on the first day of the writer’s strike. \u003ccite>(Mandalit del Barco/NPR News)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_13928707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg\" alt='A Writers Guild of America striker holds up a sign that says: \"You came up with Quibi.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Jono Matt holds a sign referring to the short-lived streaming service Quibi at the WGA picket line outside Warner Bros. Studios in Burbank. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"title": "All Creatures Great and Small in ‘Guardians 3’",
"headTitle": "All Creatures Great and Small in ‘Guardians 3’ | KQED",
"content": "\u003cp>When Peter “Star-Lord” Quill, while inspecting a murky extraterrestrial region, pressed play on Redbone’s “Come and Get Your Love” in the first \u003cem>Guardians of the Galaxy\u003c/em>, it would have been hard to imagine that James Gunn’s space opera would ultimately lead to something as sincere, poignant and kinda cornball as the trilogy-ending \u003cem>Guardians of the Galaxy Vol. 3\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13928312']But as Gunn has showed over over the course of these increasingly soupy sci-fi spectacles, the genetically spliced DNA of his chaotic, cartoonish cosmic vision is a double helix of opposites. Breezy ’70s rock papers over extreme violence. Cynical exteriors cloak sentimental emotions. A ragtag group of outcasts, more so than even the cast of \u003cem>Fast and the Furious\u003c/em>, talk a lot about “family” and “friends.” Against the odds, “Come and get your love” has turned out to be a legit invitation.\u003c/p>\n\u003cp>\u003cem>Vol. 3\u003c/em> is a messy, overstuffed finale. But you rarely question whether Gunn’s heart is in it. Sometimes it spoils some of that effect by trying too hard to juxtapose tonal extremes, and show off its brash juggling act. Yet whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it. And for even a movie that sends a golden-hued Will Poulter shooting through space to the tune of Heart’s “Crazy on You,” that earnest belief goes a long way.\u003c/p>\n\u003cfigure id=\"attachment_13928610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png\" alt=\"A white man with scruffy short beard and brown hair stands, flames burning behind him.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-768x525.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM.png 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Pratt as Peter ‘Star-Lord’ Quill in ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song, though, that kicks off \u003cem>Guardians of the Galaxy Vol. 3\u003c/em> is not an upbeat one. Radiohead’s “Creep” casts a sour mood over the Guardians, who we find in a lethargic state of disarray in the spaceport Knowhere following their 2017 \u003cem>Empire Strikes Back\u003c/em>-esque second chapter.\u003c/p>\n\u003cp>Whether \u003cem>Guardians of the Galaxy\u003c/em> is best suited to strike these solemn notes, or reach for such last-chapter poignancy in \u003cem>Vol. 3\u003c/em> is debatable. I’ve always liked these films at their most cartoonish. Donning a degree of self-importance is probably the most Marvel thing about this \u003cem>Guardians\u003c/em>. Gunn’s films — which, unlike most of the comic-book studio’s releases, are both written and directed by him — have always stood out for their distinct lack of Marvel house style. \u003cem>Guardians 3\u003c/em>, unfortunately, has contracted a touch of \u003cem>Endgame\u003c/em> grandiosity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The group — including Star-Lord (Chris Pratt), Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan) and Groot (voiced by Vin Diesel) — is quickly sent into emergency mode. Adam Warlock (Poulter), an artificial being created by the High Priestess Ayesha (Elizabeth Debicki), comes careening into their lair, leaving Rocket (voiced by Bradley Cooper and played in motion capture by Sean Gunn) on his deathbed. To save Rocket, a cybernetically enhanced raccoon, the Guardians must hurriedly resuscitate him with his original programming.\u003c/p>\n\u003cp>[aside postid='arts_13927554']This means traveling to the lab he was created in years before by the High Evolutionary (a sensational Chukwudi Iwuji, an all-time Marvel villain), a Doctor Moreau sort who’s been toiling to craft a “perfect” race of hybrid creatures to populate a copy of planet Earth. As the Guardians seek to infiltrate his realm, \u003cem>Vol. 3\u003c/em> repeatedly flashes back to Rocket’s experience with the High Evolutionary: his transformation from raccoon, his joyful experience with other experimental creations and his harrowing escape.\u003c/p>\n\u003cp>It’s telling that in this \u003cem>Guardians\u003c/em> swan song that Gunn centers Rocket and less so Quill, whose father-son drama dominated \u003cem>Vol. 2\u003c/em>. (Here, he’s mostly in save-my-friend mode when not wrestling with the heartbreak of this version of Zoe Saldaña’s Gamora. Thanks to some \u003cem>Avengers\u003c/em> events, she no longer even knows him.)\u003c/p>\n\u003cfigure id=\"attachment_13928611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png\" alt=\"A woman with long auburn hair and a green face adopts a fight position close to the ground within a space craft.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM.png 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Saldana as Gamora in a scene from ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are foremost epics of orphandom about distinctly un-superhuman characters. Mother and father figures float in and out, while the Guardians attract one forlorn figure after another. In \u003cem>Vol. 3\u003c/em>, it’s both comical and even a little stirring just how far empathy reaches for all of God’s — and Marvel’s — creatures. Gunn has taken a woebegone B-team or C-team of comic book oddballs and cast them into a cosmic tapestry of weirdos and misfits, ranging wildly in size, shape, color and dancing ability.\u003c/p>\n\u003cp>[aside postid='arts_13927547']In \u003cem>Vol. 3\u003c/em>, Gunn really lets the freak flag fly, putting the Guardians in battle with not just the High Evolutionary but the notion of perfection. It’s not a coincidence that this \u003cem>Guardians\u003c/em> film arrives, finally, in the suburbs — or at least some slightly warped version of it.\u003c/p>\n\u003cp>Gunn, a B-movie director at heart, fills these films with more sinewy than sleek worlds, full of florid beauty and opulent grotesquerie. (\u003cem>Vol. 3\u003c/em>, more than the last two films, reminded me of \u003cem>The Fifth Element\u003c/em>, a good thing.) It’s often clear that his ambitions are sometimes just a bit too much; this, like his DC film \u003cem>The Suicide Squad\u003c/em>, \u003cem>Vol. 3\u003c/em> could have used a firmer editor to corral some of Gunn’s impulse for excess.\u003c/p>\n\u003cp>This installment, of course, nearly didn’t happen after Gunn’s firing years ago. And partially because of that forced hiatus, he’s now ruling an even larger, more mainstream superhero cosmos at DC. That surely has something to do with the sense of parting that permeates the final act of \u003cem>Guardians 3\u003c/em>. After so many speeches about friendship and togetherness, \u003cem>Vol. 3\u003c/em> ends curiously elegiacally, and with one last dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Peter “Star-Lord” Quill, while inspecting a murky extraterrestrial region, pressed play on Redbone’s “Come and Get Your Love” in the first \u003cem>Guardians of the Galaxy\u003c/em>, it would have been hard to imagine that James Gunn’s space opera would ultimately lead to something as sincere, poignant and kinda cornball as the trilogy-ending \u003cem>Guardians of the Galaxy Vol. 3\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But as Gunn has showed over over the course of these increasingly soupy sci-fi spectacles, the genetically spliced DNA of his chaotic, cartoonish cosmic vision is a double helix of opposites. Breezy ’70s rock papers over extreme violence. Cynical exteriors cloak sentimental emotions. A ragtag group of outcasts, more so than even the cast of \u003cem>Fast and the Furious\u003c/em>, talk a lot about “family” and “friends.” Against the odds, “Come and get your love” has turned out to be a legit invitation.\u003c/p>\n\u003cp>\u003cem>Vol. 3\u003c/em> is a messy, overstuffed finale. But you rarely question whether Gunn’s heart is in it. Sometimes it spoils some of that effect by trying too hard to juxtapose tonal extremes, and show off its brash juggling act. Yet whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it. And for even a movie that sends a golden-hued Will Poulter shooting through space to the tune of Heart’s “Crazy on You,” that earnest belief goes a long way.\u003c/p>\n\u003cfigure id=\"attachment_13928610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png\" alt=\"A white man with scruffy short beard and brown hair stands, flames burning behind him.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-768x525.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM.png 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Pratt as Peter ‘Star-Lord’ Quill in ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song, though, that kicks off \u003cem>Guardians of the Galaxy Vol. 3\u003c/em> is not an upbeat one. Radiohead’s “Creep” casts a sour mood over the Guardians, who we find in a lethargic state of disarray in the spaceport Knowhere following their 2017 \u003cem>Empire Strikes Back\u003c/em>-esque second chapter.\u003c/p>\n\u003cp>Whether \u003cem>Guardians of the Galaxy\u003c/em> is best suited to strike these solemn notes, or reach for such last-chapter poignancy in \u003cem>Vol. 3\u003c/em> is debatable. I’ve always liked these films at their most cartoonish. Donning a degree of self-importance is probably the most Marvel thing about this \u003cem>Guardians\u003c/em>. Gunn’s films — which, unlike most of the comic-book studio’s releases, are both written and directed by him — have always stood out for their distinct lack of Marvel house style. \u003cem>Guardians 3\u003c/em>, unfortunately, has contracted a touch of \u003cem>Endgame\u003c/em> grandiosity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The group — including Star-Lord (Chris Pratt), Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan) and Groot (voiced by Vin Diesel) — is quickly sent into emergency mode. Adam Warlock (Poulter), an artificial being created by the High Priestess Ayesha (Elizabeth Debicki), comes careening into their lair, leaving Rocket (voiced by Bradley Cooper and played in motion capture by Sean Gunn) on his deathbed. To save Rocket, a cybernetically enhanced raccoon, the Guardians must hurriedly resuscitate him with his original programming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This means traveling to the lab he was created in years before by the High Evolutionary (a sensational Chukwudi Iwuji, an all-time Marvel villain), a Doctor Moreau sort who’s been toiling to craft a “perfect” race of hybrid creatures to populate a copy of planet Earth. As the Guardians seek to infiltrate his realm, \u003cem>Vol. 3\u003c/em> repeatedly flashes back to Rocket’s experience with the High Evolutionary: his transformation from raccoon, his joyful experience with other experimental creations and his harrowing escape.\u003c/p>\n\u003cp>It’s telling that in this \u003cem>Guardians\u003c/em> swan song that Gunn centers Rocket and less so Quill, whose father-son drama dominated \u003cem>Vol. 2\u003c/em>. (Here, he’s mostly in save-my-friend mode when not wrestling with the heartbreak of this version of Zoe Saldaña’s Gamora. Thanks to some \u003cem>Avengers\u003c/em> events, she no longer even knows him.)\u003c/p>\n\u003cfigure id=\"attachment_13928611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png\" alt=\"A woman with long auburn hair and a green face adopts a fight position close to the ground within a space craft.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM.png 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Saldana as Gamora in a scene from ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are foremost epics of orphandom about distinctly un-superhuman characters. Mother and father figures float in and out, while the Guardians attract one forlorn figure after another. In \u003cem>Vol. 3\u003c/em>, it’s both comical and even a little stirring just how far empathy reaches for all of God’s — and Marvel’s — creatures. Gunn has taken a woebegone B-team or C-team of comic book oddballs and cast them into a cosmic tapestry of weirdos and misfits, ranging wildly in size, shape, color and dancing ability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Vol. 3\u003c/em>, Gunn really lets the freak flag fly, putting the Guardians in battle with not just the High Evolutionary but the notion of perfection. It’s not a coincidence that this \u003cem>Guardians\u003c/em> film arrives, finally, in the suburbs — or at least some slightly warped version of it.\u003c/p>\n\u003cp>Gunn, a B-movie director at heart, fills these films with more sinewy than sleek worlds, full of florid beauty and opulent grotesquerie. (\u003cem>Vol. 3\u003c/em>, more than the last two films, reminded me of \u003cem>The Fifth Element\u003c/em>, a good thing.) It’s often clear that his ambitions are sometimes just a bit too much; this, like his DC film \u003cem>The Suicide Squad\u003c/em>, \u003cem>Vol. 3\u003c/em> could have used a firmer editor to corral some of Gunn’s impulse for excess.\u003c/p>\n\u003cp>This installment, of course, nearly didn’t happen after Gunn’s firing years ago. And partially because of that forced hiatus, he’s now ruling an even larger, more mainstream superhero cosmos at DC. That surely has something to do with the sense of parting that permeates the final act of \u003cem>Guardians 3\u003c/em>. After so many speeches about friendship and togetherness, \u003cem>Vol. 3\u003c/em> ends curiously elegiacally, and with one last dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Three Harry Belafonte Performances You Won't Want to Miss",
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"content": "\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>[aside postid='arts_13928229']But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=vSzDfNn3kYc\u003c/p>\n\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r-24cY5PjSI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1Aoukxd0GvI&t=1s\u003c/p>\n\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vSzDfNn3kYc'\n title='//www.youtube.com/embed/vSzDfNn3kYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r-24cY5PjSI'\n title='//www.youtube.com/embed/r-24cY5PjSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1Aoukxd0GvI'\n title='//www.youtube.com/embed/1Aoukxd0GvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96",
"headTitle": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96 | KQED",
"content": "\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H5dpBWlRANE\u003c/p>\n\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kMXBJW1PuU8\u003c/p>\n\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zh1ow6zKapQ\u003c/p>\n\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYYkJ0kwNss\u003c/p>\n\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In addition to his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H5dpBWlRANE'\n title='//www.youtube.com/embed/H5dpBWlRANE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kMXBJW1PuU8'\n title='//www.youtube.com/embed/kMXBJW1PuU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zh1ow6zKapQ'\n title='//www.youtube.com/embed/Zh1ow6zKapQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DYYkJ0kwNss'\n title='//www.youtube.com/embed/DYYkJ0kwNss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Chevalier,’ Erased Composer Joseph Bologne Gets a Lush Biopic",
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"content": "\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>[aside postid='arts_13927621']It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LtCIImfSCk&t=30s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>[aside postid='arts_13927175']Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-LtCIImfSCk'\n title='//www.youtube.com/embed/-LtCIImfSCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"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.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"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",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"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",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
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"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": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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