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"title": "How the Bay Area Reshaped a Classic Soundtrack",
"headTitle": "How the Bay Area Reshaped a Classic Soundtrack | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">After lobbing a baseball over home plate for the \u003ca href=\"https://twitter.com/EMPIRE/status/1414996810804862978\" target=\"_blank\" rel=\"noopener noreferrer\">ceremonial first pitch\u003c/a> at the San Francisco Giants game last week, rapper and producer \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> was on the red carpet Monday in Los Angeles for the world premiere of \u003cem>Space Jam: A New Legacy.\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film, in theaters and on HBO Max this Friday, is produced by the Bay Area’s own Ryan Coogler. Alongside appearances from LeBron James, Bugs Bunny, Diana Taurasi and Porky Pig, \u003c/span>Oakland-raised superstar actress Zendaya voices the role of Lola Bunny and \u003cspan>Oakland-grown NBA superstar Damian Lillard voices the character of Chronos—a play off of his “Dame Time” moniker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the Bay Area connection hardly stops there: the soundtrack to what’s expected to be one of the biggest blockbusters of the summer boasts a handful of Bay Area names, including P-Lo, who produced and is featured on the track “\u003ca href=\"https://www.youtube.com/watch?v=ubfqo-7XvqI\" target=\"_blank\" rel=\"noopener noreferrer\">About That Time\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ubfqo-7XvqI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The way it came to be was really quite simple, P-Lo tells me. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Proximity Media’s co-head of music and marketing, Archie Davis, contacted P-Lo’s manager Stretch. Soon after, P-Lo was shown the rough version of a scene in the movie with Damian Lillard’s character, and was told, “We need a song for this scene, and we want to sample a classic Bay Area song.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The sample he chose for “About That Time” was from Too $hort’s 2003 hit, “Burn Rubber.” “It’s probably one of my favorite songs of all time, top five songs,” P-Lo tells me. “When they’re dropping my casket, I wouldn’t mind them playing ‘Burn Rubber,’ know what I’m saying?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A certain amount of pressure comes with reworking such a beloved track, but for P-Lo, the moment deserved that amount of pressure. “To bring back a classic song that means so much to us—and it’s actually in the movie, not just on the soundtrack—being able to bring that sound into the movie, with Dame being from Oakland, means something,” says P-Lo.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg\" alt='G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros \"Space Jam: A New Legacy\" at Regal LA Live on July 12, 2021 in Los Angeles, California. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13900010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros “Space Jam: A New Legacy” at Regal LA Live on July 12, 2021 in Los Angeles, California. \u003ccite>(Emma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We Win,” a track featuring Lil Baby and Kirk Franklin is the lead single from the album. National artists like the Jonas Brothers, Salt-N-Pepa and Lil Uzi Vert are included on the soundtrack’s roster. But a conspicuous amount of Bay Area artists are sprinkled throughout the lineup, including \u003ca href=\"https://www.instagram.com/saweetie/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Saweetie\u003c/a>, \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24kGoldn\u003c/a> and \u003ca href=\"https://www.instagram.com/duckwrth/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Duckwrth\u003c/a>, who all spend time between L.A. and the Bay. The East Bay’s \u003ca href=\"https://www.instagram.com/therealsymba/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a> appears on a track with John Legend and Chance The Rapper, while Richmond’s \u003ca href=\"https://www.instagram.com/whitedave/\" target=\"_blank\" rel=\"noopener noreferrer\">White Dave\u003c/a> handles the final verse on the aforementioned P-Lo produced “About That Time,” which also features \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a> and Damian Lillard, who records under the name Dame D.O.L.L.A.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It shows how many great things are happening in the Bay,” says P-Lo. “I don’t make the same music that 24KGoldn makes, or 24KGoldn doesn’t make the same music that Symba makes, or G-Eazy, or Saweetie, or whoever. It just shows that we’re hitting them from all different angles, and I’m just super excited that the Bay was able to show their ass on this, you know?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave says the \u003cem>Space Jam: A New Legacy\u003c/em> soundtrack feels like “a coming out party” for the artists on the album, even though there are a lot of seasoned veterans on it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave (real name Noah Coogler, the brother of producer Ryan Coogler) says his involvement happened fairly simply: P-Lo sent the beat to his management team, White Dave reviewed it and laid something down. After White Dave filed his verse, he received a semi-finished copy of the track, and “I was like, ‘This song is going crazy’,” he says. A couple weeks later, White Dave got paperwork letting him know it was going to be in the soundtrack. His mind was blown. “I had no idea that I was contributing to something that was going to be that major,” he tells me during a phone call earlier this week.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave, whose song “Grizzly” is featured in \u003ca href=\"https://www.youtube.com/watch?v=JiHt8FnNFXc\" target=\"_blank\" rel=\"noopener noreferrer\">a Jabbawockeez video\u003c/a> that’s received over a million views since February, \u003c/span>\u003cspan style=\"font-weight: 400\">still hasn’t processed being part of the \u003cem>Space Jam\u003c/em> sequel. “I don’t make a big deal about things, I just try to keep things in perspective and move on to the next job,” he says. “But!” he emphasizes, “It feels remarkable. Obviously \u003cem>Space Jam\u003c/em> has had a huge impact on my life growing up, to be a part of the reboot is bigger than big.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900011\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/slack-imgs.jpg\" alt=\"Symba and LeBron James at the 'Space Jam: A New Legacy' premiere at LA Live in Los Angeles.\" width=\"480\" height=\"600\" class=\"size-full wp-image-13900011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs-160x200.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Symba and LeBron James at the ‘Space Jam: A New Legacy’ premiere at LA Live in Los Angeles. \u003ccite>(Courtesy Symba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba says he struggled with holding in his excitement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You don’t want to tell nobody, in case the song doesn’t make it or if there’s clearance issues, or whatever. So, it just feels good for it to be out,” Symba tells me over the phone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite revamping one of the most memorable soundtracks of a generation—an album that brought nearly 10 songs to the Billboard’s Top 10, sold \u003ca href=\"https://www.billboard.com/articles/columns/tv-film/9591375/space-jam-a-new-legacy-soundtrack-inside-look/\" target=\"_blank\" rel=\"noopener noreferrer\">4.7 million copies,\u003c/a> and had millions of American kids \u003ca href=\"https://www.youtube.com/results?search_query=i+believe+i+can+fly+graduation+elementary+school\" target=\"_blank\" rel=\"noopener noreferrer\">singing about believing in the ability to fly at elementary school graduations\u003c/a>—Symba says he didn’t feel too much pressure. \u003c/span>\u003c/p>\n\u003cp>His friend and producer Oak was working on a track with Chance The Rapper, and needed someone to fill-in the gaps of the hook. “(Oak) was just singing the hook, ‘Pull the ground from out under me, if you want to see me fly,'” says Symba. “And I’m thinking: it doesn’t need to be something that rhymes, it’s something that needs to be a statement.”\u003c/p>\n\u003cp>He thought about the story of LeBron James, his friend and business partner Maverick Carter, and their business, \u003ca href=\"https://www.forbes.com/companies/klutch-sports-group/?sh=7968e3e65de4\" target=\"_blank\" rel=\"noopener noreferrer\">Klutch Sports\u003c/a>.\u003c/p>\n\u003cp>The words “Look in the sky, the air up here is so clear / We clearly on top” came to Symba. From there, he says, “I started thinking, ‘What would I say next if I was LeBron? How did I get to the top?'”\u003c/p>\n\u003cp>[aside postID='arts_13884595']“We built this thing from where the ground’s at, it’s our time to take flight. We cleared for takeoff,” wrote Symba, who late last year garnered attention for his \u003ca href=\"https://www.youtube.com/watch?v=bmvMjPiOVbg\" target=\"_blank\" rel=\"noopener noreferrer\">LA Leakers freestyle\u003c/a> (which \u003ca href=\"https://www.xxlmag.com/symba-interview-the-break/\" target=\"_blank\" rel=\"noopener noreferrer\">LeBron James shared on social media\u003c/a>). “Oak looked at me,” he adds, and “he was like ‘Bro, you might as well do a verse too.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba got a surprise when he heard the final track. “About four months later they sent me a version of it with John Legend,” says Symba. “And that’s when I was like ‘Ohhhhh shit, John Legend!'”\u003c/span>\u003c/p>\n\u003cp>This is a big moment for Bay Area talent, Symba says, because he’s seen artists who came before him hit a ceiling. A local lack of entertainment industry infrastructure, mismanagement and a shortage of resources have all led to artists not being able to reach higher platforms, he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You do the Petaluma show, you go to Fresno a few times, up to Chico and you pretty much done it all. You do the same shows over and over and people get tired of seeing you,” says Symba, noting the importance of Bay Area artists being in L.A. where there are much bigger opportunities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot of us (in L.A.) pushing the Bay Area forward,” says Symba. “That’s why we go so hard, we always dance the way we do, and yell ‘Bay Area’—because we know how hard it is to get here. We scream that to let everybody on the other side know it’s possible.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg\" alt=\"P-Lo and G-Eazy (L-R) attend the 'Space Jam: A New Legacy' party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \" width=\"800\" height=\"548\" class=\"size-medium wp-image-13900009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and G-Eazy (L-R) attend the ‘Space Jam: A New Legacy’ party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archie Davis, who co-executive produced the music and soundtrack to the film alongside Ludwig Göransson, tells me to look at all of Ryan Coogler’s work: \u003cspan style=\"font-weight: 400\">“There’s a Bay Area ode in all of his films.”\u003c/span>\u003c/p>\n\u003cp>So it was a no-brainer to include the sound of the Bay in this film—especially for Dame Lillard’s part.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the phone, Davis, who is from Fresno, tells me the specific moment the seed was planted for the “About That Time” song. “I was watching Dame play \u003ca href=\"https://www.kqed.org/arts/13884595/professional-bubble-ball-at-the-nba-and-wnba-is-leading-by-example\" rel=\"noopener noreferrer\" target=\"_blank\">in the bubble\u003c/a>,” Davis says, in reference to the 2020 NBA season. “‘Blow The Whistle’ came on, and I watched him go dumb on the court.” \u003c/span>\u003c/p>\n\u003cp>He knew he needed to emulate that in the film, so he reached out to P-Lo.\u003c/p>\n\u003cp>Davis adds that Saweetie, White Dave and others were natural fits, and Symba has written for so many soundtracks he couldn’t pass him up.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">Once we looked up, we had racked ’em up,” Davis says about the amount of Bay Area artists on the soundtrack. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In terms of what this says about the marketability of current Bay Area artists? Davis says it’s like that Andre 3000 quote—”The south got something to say”—except this time, it’s the Bay.\u003c/p>\n\n",
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"excerpt": "'Space Jam: A New Legacy' comes with a soundtrack featuring Bay Area artists P-Lo, Saweetie, 24kGoldn, G-Eazy, Symba, White Dave and others.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">After lobbing a baseball over home plate for the \u003ca href=\"https://twitter.com/EMPIRE/status/1414996810804862978\" target=\"_blank\" rel=\"noopener noreferrer\">ceremonial first pitch\u003c/a> at the San Francisco Giants game last week, rapper and producer \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> was on the red carpet Monday in Los Angeles for the world premiere of \u003cem>Space Jam: A New Legacy.\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film, in theaters and on HBO Max this Friday, is produced by the Bay Area’s own Ryan Coogler. Alongside appearances from LeBron James, Bugs Bunny, Diana Taurasi and Porky Pig, \u003c/span>Oakland-raised superstar actress Zendaya voices the role of Lola Bunny and \u003cspan>Oakland-grown NBA superstar Damian Lillard voices the character of Chronos—a play off of his “Dame Time” moniker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the Bay Area connection hardly stops there: the soundtrack to what’s expected to be one of the biggest blockbusters of the summer boasts a handful of Bay Area names, including P-Lo, who produced and is featured on the track “\u003ca href=\"https://www.youtube.com/watch?v=ubfqo-7XvqI\" target=\"_blank\" rel=\"noopener noreferrer\">About That Time\u003c/a>.”\u003c/span>\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/ubfqo-7XvqI'\n title='//www.youtube.com/embed/ubfqo-7XvqI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The way it came to be was really quite simple, P-Lo tells me. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Proximity Media’s co-head of music and marketing, Archie Davis, contacted P-Lo’s manager Stretch. Soon after, P-Lo was shown the rough version of a scene in the movie with Damian Lillard’s character, and was told, “We need a song for this scene, and we want to sample a classic Bay Area song.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The sample he chose for “About That Time” was from Too $hort’s 2003 hit, “Burn Rubber.” “It’s probably one of my favorite songs of all time, top five songs,” P-Lo tells me. “When they’re dropping my casket, I wouldn’t mind them playing ‘Burn Rubber,’ know what I’m saying?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A certain amount of pressure comes with reworking such a beloved track, but for P-Lo, the moment deserved that amount of pressure. “To bring back a classic song that means so much to us—and it’s actually in the movie, not just on the soundtrack—being able to bring that sound into the movie, with Dame being from Oakland, means something,” says P-Lo.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg\" alt='G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros \"Space Jam: A New Legacy\" at Regal LA Live on July 12, 2021 in Los Angeles, California. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13900010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros “Space Jam: A New Legacy” at Regal LA Live on July 12, 2021 in Los Angeles, California. \u003ccite>(Emma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We Win,” a track featuring Lil Baby and Kirk Franklin is the lead single from the album. National artists like the Jonas Brothers, Salt-N-Pepa and Lil Uzi Vert are included on the soundtrack’s roster. But a conspicuous amount of Bay Area artists are sprinkled throughout the lineup, including \u003ca href=\"https://www.instagram.com/saweetie/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Saweetie\u003c/a>, \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24kGoldn\u003c/a> and \u003ca href=\"https://www.instagram.com/duckwrth/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Duckwrth\u003c/a>, who all spend time between L.A. and the Bay. The East Bay’s \u003ca href=\"https://www.instagram.com/therealsymba/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a> appears on a track with John Legend and Chance The Rapper, while Richmond’s \u003ca href=\"https://www.instagram.com/whitedave/\" target=\"_blank\" rel=\"noopener noreferrer\">White Dave\u003c/a> handles the final verse on the aforementioned P-Lo produced “About That Time,” which also features \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a> and Damian Lillard, who records under the name Dame D.O.L.L.A.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It shows how many great things are happening in the Bay,” says P-Lo. “I don’t make the same music that 24KGoldn makes, or 24KGoldn doesn’t make the same music that Symba makes, or G-Eazy, or Saweetie, or whoever. It just shows that we’re hitting them from all different angles, and I’m just super excited that the Bay was able to show their ass on this, you know?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave says the \u003cem>Space Jam: A New Legacy\u003c/em> soundtrack feels like “a coming out party” for the artists on the album, even though there are a lot of seasoned veterans on it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave (real name Noah Coogler, the brother of producer Ryan Coogler) says his involvement happened fairly simply: P-Lo sent the beat to his management team, White Dave reviewed it and laid something down. After White Dave filed his verse, he received a semi-finished copy of the track, and “I was like, ‘This song is going crazy’,” he says. A couple weeks later, White Dave got paperwork letting him know it was going to be in the soundtrack. His mind was blown. “I had no idea that I was contributing to something that was going to be that major,” he tells me during a phone call earlier this week.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave, whose song “Grizzly” is featured in \u003ca href=\"https://www.youtube.com/watch?v=JiHt8FnNFXc\" target=\"_blank\" rel=\"noopener noreferrer\">a Jabbawockeez video\u003c/a> that’s received over a million views since February, \u003c/span>\u003cspan style=\"font-weight: 400\">still hasn’t processed being part of the \u003cem>Space Jam\u003c/em> sequel. “I don’t make a big deal about things, I just try to keep things in perspective and move on to the next job,” he says. “But!” he emphasizes, “It feels remarkable. Obviously \u003cem>Space Jam\u003c/em> has had a huge impact on my life growing up, to be a part of the reboot is bigger than big.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900011\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/slack-imgs.jpg\" alt=\"Symba and LeBron James at the 'Space Jam: A New Legacy' premiere at LA Live in Los Angeles.\" width=\"480\" height=\"600\" class=\"size-full wp-image-13900011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs-160x200.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Symba and LeBron James at the ‘Space Jam: A New Legacy’ premiere at LA Live in Los Angeles. \u003ccite>(Courtesy Symba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba says he struggled with holding in his excitement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You don’t want to tell nobody, in case the song doesn’t make it or if there’s clearance issues, or whatever. So, it just feels good for it to be out,” Symba tells me over the phone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite revamping one of the most memorable soundtracks of a generation—an album that brought nearly 10 songs to the Billboard’s Top 10, sold \u003ca href=\"https://www.billboard.com/articles/columns/tv-film/9591375/space-jam-a-new-legacy-soundtrack-inside-look/\" target=\"_blank\" rel=\"noopener noreferrer\">4.7 million copies,\u003c/a> and had millions of American kids \u003ca href=\"https://www.youtube.com/results?search_query=i+believe+i+can+fly+graduation+elementary+school\" target=\"_blank\" rel=\"noopener noreferrer\">singing about believing in the ability to fly at elementary school graduations\u003c/a>—Symba says he didn’t feel too much pressure. \u003c/span>\u003c/p>\n\u003cp>His friend and producer Oak was working on a track with Chance The Rapper, and needed someone to fill-in the gaps of the hook. “(Oak) was just singing the hook, ‘Pull the ground from out under me, if you want to see me fly,'” says Symba. “And I’m thinking: it doesn’t need to be something that rhymes, it’s something that needs to be a statement.”\u003c/p>\n\u003cp>He thought about the story of LeBron James, his friend and business partner Maverick Carter, and their business, \u003ca href=\"https://www.forbes.com/companies/klutch-sports-group/?sh=7968e3e65de4\" target=\"_blank\" rel=\"noopener noreferrer\">Klutch Sports\u003c/a>.\u003c/p>\n\u003cp>The words “Look in the sky, the air up here is so clear / We clearly on top” came to Symba. From there, he says, “I started thinking, ‘What would I say next if I was LeBron? How did I get to the top?'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We built this thing from where the ground’s at, it’s our time to take flight. We cleared for takeoff,” wrote Symba, who late last year garnered attention for his \u003ca href=\"https://www.youtube.com/watch?v=bmvMjPiOVbg\" target=\"_blank\" rel=\"noopener noreferrer\">LA Leakers freestyle\u003c/a> (which \u003ca href=\"https://www.xxlmag.com/symba-interview-the-break/\" target=\"_blank\" rel=\"noopener noreferrer\">LeBron James shared on social media\u003c/a>). “Oak looked at me,” he adds, and “he was like ‘Bro, you might as well do a verse too.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba got a surprise when he heard the final track. “About four months later they sent me a version of it with John Legend,” says Symba. “And that’s when I was like ‘Ohhhhh shit, John Legend!'”\u003c/span>\u003c/p>\n\u003cp>This is a big moment for Bay Area talent, Symba says, because he’s seen artists who came before him hit a ceiling. A local lack of entertainment industry infrastructure, mismanagement and a shortage of resources have all led to artists not being able to reach higher platforms, he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You do the Petaluma show, you go to Fresno a few times, up to Chico and you pretty much done it all. You do the same shows over and over and people get tired of seeing you,” says Symba, noting the importance of Bay Area artists being in L.A. where there are much bigger opportunities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot of us (in L.A.) pushing the Bay Area forward,” says Symba. “That’s why we go so hard, we always dance the way we do, and yell ‘Bay Area’—because we know how hard it is to get here. We scream that to let everybody on the other side know it’s possible.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg\" alt=\"P-Lo and G-Eazy (L-R) attend the 'Space Jam: A New Legacy' party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \" width=\"800\" height=\"548\" class=\"size-medium wp-image-13900009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and G-Eazy (L-R) attend the ‘Space Jam: A New Legacy’ party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archie Davis, who co-executive produced the music and soundtrack to the film alongside Ludwig Göransson, tells me to look at all of Ryan Coogler’s work: \u003cspan style=\"font-weight: 400\">“There’s a Bay Area ode in all of his films.”\u003c/span>\u003c/p>\n\u003cp>So it was a no-brainer to include the sound of the Bay in this film—especially for Dame Lillard’s part.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the phone, Davis, who is from Fresno, tells me the specific moment the seed was planted for the “About That Time” song. “I was watching Dame play \u003ca href=\"https://www.kqed.org/arts/13884595/professional-bubble-ball-at-the-nba-and-wnba-is-leading-by-example\" rel=\"noopener noreferrer\" target=\"_blank\">in the bubble\u003c/a>,” Davis says, in reference to the 2020 NBA season. “‘Blow The Whistle’ came on, and I watched him go dumb on the court.” \u003c/span>\u003c/p>\n\u003cp>He knew he needed to emulate that in the film, so he reached out to P-Lo.\u003c/p>\n\u003cp>Davis adds that Saweetie, White Dave and others were natural fits, and Symba has written for so many soundtracks he couldn’t pass him up.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">Once we looked up, we had racked ’em up,” Davis says about the amount of Bay Area artists on the soundtrack. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of what this says about the marketability of current Bay Area artists? Davis says it’s like that Andre 3000 quote—”The south got something to say”—except this time, it’s the Bay.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Anthony Bourdain Doc ‘Roadrunner’ Runs on Fumes",
"headTitle": "Now Playing! Anthony Bourdain Doc ‘Roadrunner’ Runs on Fumes | KQED",
"content": "\u003cp>Anthony Bourdain was an accidental star, if we believe Morgan Neville’s scattershot, superficial and, eventually, lugubrious documentary \u003cem>\u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Roadrunner: A Film about Anthony Bourdain\u003c/a>\u003c/em>. A drug user who studied and graduated from line cook to chef, Bourdain was signed by a literary agent based on an off-the-cuff Tokyo travelogue he emailed to a friend. When \u003cem>Kitchen Confidential\u003c/em> became a surprise bestseller in 2000, a couple of newlywed producers enlisted its author for a food/travel show.\u003c/p>\n\u003cp>Bourdain was in his mid-40s, long-married to high school girlfriend Nancy Putkoski and entrenched in the high-pressure, low-margin, long-hours lifestyle of the Manhattan restaurant world. The implications and complications of massive mid-life success strike me as a rich subject—and a natural one for the prolific director of klieg-light subjects like \u003cem>20 Feet From Stardom\u003c/em> and \u003cem>Won’t You Be My Neighbor?\u003c/em>, about TV’s Fred Rogers—but Neville leapfrogs from Bourdain’s anonymity to his celebrity, glossing over the transition and the transformation. (Putkoski’s absence from the film suggests she chose not to participate all these years after their 2005 divorce, but her perspective is greatly missed.)\u003c/p>\n\u003cfigure id=\"attachment_13899978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bourdain in a still from ‘Roadrunner,’ 2021. \u003ccite>(Dmitri Kasterine / Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bourdain wrote more books and articles, but he achieved household-name status from his various television series. An aggressively gregarious and winsomely introspective New Yorker, his Everyman quality and gravelly honesty made him a beloved, not just popular, TV character. When he died by suicide in 2016 in France, where he was shooting an episode of the Emmy Award-winning CNN series, \u003ci>Anthony Bourdain: Parts Unknown\u003c/i>, he shocked his audience and stunned his friends.\u003c/p>\n\u003cp>\u003cem>Roadrunner\u003c/em> presents itself as a search for a seeker, but it isn’t interested in the power of success or the foibles of fame. Late in the proceedings it becomes about the elusiveness of happiness, but by then the film wears on even the most sympathetic viewer’s last nerve. The more time we spend with Bourdain, you see, the less unique, substantial and consequential he becomes. Like most stars who shine and flicker on our screens, whatever was compelling about him made its way into, and was maximized or exploited by, his snappily shot and edited vehicles. There’s nothing else to mine.\u003c/p>\n\u003cfigure id=\"attachment_13899979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Chang and Anthony Bourdain in ‘Roadrunner,’ 2021. \u003ccite>(Focus Features, in association with Zero Point Zero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbie Robertson of The Band acknowledged the toll the road takes in \u003cem>The Last Waltz\u003c/em> (1978), and perhaps the wear and tear, in cahoots with his latent self-destructiveness, burned Bourdain out. Still, a talented filmmaker could frame Bourdain’s charismatic, adrenaline-fueled, camera-saturated career as a touching and instructive case study of the potholes and pitfalls of reconciling one’s public life with one’s private life. With millions of people cultivating and tending their personas on social media, that’s no longer just the concern of A-list stars. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Documentaries are typically made in the editing room, and frequently they are found there: the themes, structure and even the story. Morgan Neville never found his film—\u003cem>Roadrunner\u003c/em> has no center, no overriding theme, no thrust beyond its frenetic editing—yet he spins his wheels for nearly two hours. Most egregious are the clips of films from \u003cem>Apocalypse Now\u003c/em> to \u003cem>The Seventh Seal\u003c/em> peddling the idea that Bourdain was heavily influenced by the movies.\u003c/p>\n\u003cp>Backed by CNN Films, \u003cem>Roadrunner\u003c/em> will wind up on the network where \u003ci>Parts Unknown\u003c/i> aired. To put it bluntly, its raison d’être is that its subject was a television celebrity. What’s much less forgivable is Neville’s pointless, perfunctory appropriation of the song “\u003ca href=\"https://youtu.be/g4myghLPLZc\" rel=\"noopener noreferrer\" target=\"_blank\">Marquee Moon\u003c/a>,” Television’s witty nocturnal anthem of youthful existentialism. That’s when the red light on the dashboard went on for me, even if \u003cem>Roadrunner\u003c/em> didn’t run out of gas until a little while later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roadrunner’ opens Friday, July 16 in Bay Area theaters. \u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Bourdain was an accidental star, if we believe Morgan Neville’s scattershot, superficial and, eventually, lugubrious documentary \u003cem>\u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Roadrunner: A Film about Anthony Bourdain\u003c/a>\u003c/em>. A drug user who studied and graduated from line cook to chef, Bourdain was signed by a literary agent based on an off-the-cuff Tokyo travelogue he emailed to a friend. When \u003cem>Kitchen Confidential\u003c/em> became a surprise bestseller in 2000, a couple of newlywed producers enlisted its author for a food/travel show.\u003c/p>\n\u003cp>Bourdain was in his mid-40s, long-married to high school girlfriend Nancy Putkoski and entrenched in the high-pressure, low-margin, long-hours lifestyle of the Manhattan restaurant world. The implications and complications of massive mid-life success strike me as a rich subject—and a natural one for the prolific director of klieg-light subjects like \u003cem>20 Feet From Stardom\u003c/em> and \u003cem>Won’t You Be My Neighbor?\u003c/em>, about TV’s Fred Rogers—but Neville leapfrogs from Bourdain’s anonymity to his celebrity, glossing over the transition and the transformation. (Putkoski’s absence from the film suggests she chose not to participate all these years after their 2005 divorce, but her perspective is greatly missed.)\u003c/p>\n\u003cfigure id=\"attachment_13899978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bourdain in a still from ‘Roadrunner,’ 2021. \u003ccite>(Dmitri Kasterine / Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bourdain wrote more books and articles, but he achieved household-name status from his various television series. An aggressively gregarious and winsomely introspective New Yorker, his Everyman quality and gravelly honesty made him a beloved, not just popular, TV character. When he died by suicide in 2016 in France, where he was shooting an episode of the Emmy Award-winning CNN series, \u003ci>Anthony Bourdain: Parts Unknown\u003c/i>, he shocked his audience and stunned his friends.\u003c/p>\n\u003cp>\u003cem>Roadrunner\u003c/em> presents itself as a search for a seeker, but it isn’t interested in the power of success or the foibles of fame. Late in the proceedings it becomes about the elusiveness of happiness, but by then the film wears on even the most sympathetic viewer’s last nerve. The more time we spend with Bourdain, you see, the less unique, substantial and consequential he becomes. Like most stars who shine and flicker on our screens, whatever was compelling about him made its way into, and was maximized or exploited by, his snappily shot and edited vehicles. There’s nothing else to mine.\u003c/p>\n\u003cfigure id=\"attachment_13899979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Chang and Anthony Bourdain in ‘Roadrunner,’ 2021. \u003ccite>(Focus Features, in association with Zero Point Zero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbie Robertson of The Band acknowledged the toll the road takes in \u003cem>The Last Waltz\u003c/em> (1978), and perhaps the wear and tear, in cahoots with his latent self-destructiveness, burned Bourdain out. Still, a talented filmmaker could frame Bourdain’s charismatic, adrenaline-fueled, camera-saturated career as a touching and instructive case study of the potholes and pitfalls of reconciling one’s public life with one’s private life. With millions of people cultivating and tending their personas on social media, that’s no longer just the concern of A-list stars. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Documentaries are typically made in the editing room, and frequently they are found there: the themes, structure and even the story. Morgan Neville never found his film—\u003cem>Roadrunner\u003c/em> has no center, no overriding theme, no thrust beyond its frenetic editing—yet he spins his wheels for nearly two hours. Most egregious are the clips of films from \u003cem>Apocalypse Now\u003c/em> to \u003cem>The Seventh Seal\u003c/em> peddling the idea that Bourdain was heavily influenced by the movies.\u003c/p>\n\u003cp>Backed by CNN Films, \u003cem>Roadrunner\u003c/em> will wind up on the network where \u003ci>Parts Unknown\u003c/i> aired. To put it bluntly, its raison d’être is that its subject was a television celebrity. What’s much less forgivable is Neville’s pointless, perfunctory appropriation of the song “\u003ca href=\"https://youtu.be/g4myghLPLZc\" rel=\"noopener noreferrer\" target=\"_blank\">Marquee Moon\u003c/a>,” Television’s witty nocturnal anthem of youthful existentialism. That’s when the red light on the dashboard went on for me, even if \u003cem>Roadrunner\u003c/em> didn’t run out of gas until a little while later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roadrunner’ opens Friday, July 16 in Bay Area theaters. \u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eight years ago, \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a> announced his retirement from feature filmmaking. Happily for us, it turned out to be short-lived. Since 2017 he’s been on a tear, cranking out one or two new movies a year, among them the brilliant NASCAR heist thriller \u003ca href=\"https://www.npr.org/2017/08/17/542881550/a-nascar-caper-comedy-fueled-by-thick-southern-accents-logan-lucky\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan Lucky\u003c/em>\u003c/a>, the sharp sports-agency drama \u003ca href=\"https://www.npr.org/2019/02/08/691314350/the-business-of-sport-takes-center-stage-in-soderberghs-high-flying-bird\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High Flying Bird\u003c/em>\u003c/a> and \u003cem>The Laundromat\u003c/em>, an irreverent look at financial fraud in the 21st century. What connects these movies is how attuned they are to matters of class and money in a way that’s still pretty rare in Hollywood.\u003c/p>\n\u003cp>Soderbergh’s engrossing new movie, \u003cem>No Sudden Move\u003c/em>, continues this trend. It’s an ensemble crime thriller set in 1954 Detroit, a gorgeously designed world of fedoras and trenchcoats, smoky wood-paneled offices and vintage automobiles. Like the classic ’50s noirs that inspired it, Ed Solomon’s densely plotted script is full of double-crosses and dirty dealings.\u003c/p>\n\u003cp>[aside postid='arts_25363']At the center of the story are two crooks: Don Cheadle plays Curt Goynes, and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1585570\" target=\"_blank\" rel=\"noopener noreferrer\">Benicio Del Toro\u003c/a> plays Ronald Russo. They’re low-level gangsters who’ve been hired by a Mr. Jones—a nicely menacing turn by Brendan Fraser—as part of a plan to coerce a guy named Mark into stealing a top-secret document from the company where he works.\u003c/p>\n\u003cp>Curt and Ronald’s job is to “babysit” Mark’s wife and kids at their home while the theft is taking place. But as you might expect from a tense situation with masked men, loaded guns and a terrified family, the scheme quickly goes awry. Amid the fallout, Curt and Ronald realize they’ve been drawn into a major corporate conspiracy.\u003c/p>\n\u003cp>When the document eventually falls into their possession, they realize they could profit handsomely if they play their cards right—and if they stay alive. It’s a big “if,” as they soon learn there’s a price on their heads. Over the next few days, they run afoul of any number of nasty characters, including a local kingpin played by \u003ca href=\"https://www.npr.org/2012/04/05/148921156/many-colors-of-prejudice-are-revealed-in-dark-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Duke\u003c/a>, and a surly gangster played by an amusingly typecast\u003ca href=\"https://www.npr.org/2016/01/12/462773313/ray-liotta-on-goodfellas-acting-and-his-return-to-tv\" target=\"_blank\" rel=\"noopener noreferrer\"> Ray Liotta\u003c/a>. \u003ca href=\"https://www.npr.org/2010/09/16/129904576/a-transformative-year-for-don-draper-jon-hamm\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Hamm\u003c/a> turns up as a nosy police detective—and looks right at home in the decade before \u003ca href=\"https://www.npr.org/2015/05/18/407619617/mad-men-ends-how-was-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Men\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GRDLX3a-IE\u003c/p>\n\u003cp>Through it all, Cheadle and Del Toro, who have both worked with Soderbergh before, maintain a nicely combative rapport, playing two very different men who have grown weary of their lives of crime. While Ronald plans to retire, Curt has nobler intentions: He wants to pour some of the spoils back into the Black communities in Detroit that have suffered heavily under \u003ca href=\"https://www.npr.org/2017/05/03/526655831/a-forgotten-history-of-how-the-u-s-government-segregated-america\" target=\"_blank\" rel=\"noopener noreferrer\">racist housing policies\u003c/a> and zoning laws.\u003c/p>\n\u003cp>[aside postid='arts_120058']Those are just a few of the many social issues the movie touches on, including the tensions between the city’s Black and Italian populations and the disastrous environmental consequences of an unchecked automobile industry. These matters aren’t always woven as smoothly into the story as they could have been, but they give \u003cem>No Sudden Move\u003c/em> a potent edge nonetheless. You’re pulled in by the suave camerawork and \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Beachler\u003c/a>‘s rich mid-century production design, but you’re also made aware of the inequities churning beneath the surface.\u003c/p>\n\u003cp>That social conscience is nothing new for Soderbergh, who’s made some of his best movies about working-class strivers, from \u003cem>Erin Brockovich\u003c/em> to \u003ca href=\"https://www.npr.org/2012/06/28/155706959/magic-mike-flesh-aplenty-but-more-than-skin-deep\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Magic Mike\u003c/em>\u003c/a>. Here he’s less focused on individuals than an entire corrupt system, showing us how the men in the executive suites are as crooked as the ones shooting each other in the streets. But while \u003cem>No Sudden Move\u003c/em> does feature a lot of awful male misbehavior, Soderbergh has always been just as interested in his female characters, and he doesn’t neglect the crucial roles played by the women in this ’50s gangland setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amy Seimetz—a key force on the Soderbergh-produced series \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=104325729\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Girlfriend Experience\u003c/em>\u003c/a>—gives one of the movie’s best performances as Mark’s wife, Mary. Unlike her feckless fool of a husband, she handles a scary situation with unflappable smarts and courage. There are other terrific actors, too, like Lauren LaStrada, Julia Fox and Frankie Shaw: They may be playing housewives or mistresses or secretaries, but they all have an inner strength or defiant streak, a refusal to let the caddish and controlling men in their lives call the shots. I’d gladly follow any of them into movies of their own—especially if Soderbergh is around to direct them.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27No+Sudden+Move%27+Intrigues+With+Double-Crosses%2C+Dirty+Dealings+In+1950s+Detroit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight years ago, \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a> announced his retirement from feature filmmaking. Happily for us, it turned out to be short-lived. Since 2017 he’s been on a tear, cranking out one or two new movies a year, among them the brilliant NASCAR heist thriller \u003ca href=\"https://www.npr.org/2017/08/17/542881550/a-nascar-caper-comedy-fueled-by-thick-southern-accents-logan-lucky\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan Lucky\u003c/em>\u003c/a>, the sharp sports-agency drama \u003ca href=\"https://www.npr.org/2019/02/08/691314350/the-business-of-sport-takes-center-stage-in-soderberghs-high-flying-bird\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High Flying Bird\u003c/em>\u003c/a> and \u003cem>The Laundromat\u003c/em>, an irreverent look at financial fraud in the 21st century. What connects these movies is how attuned they are to matters of class and money in a way that’s still pretty rare in Hollywood.\u003c/p>\n\u003cp>Soderbergh’s engrossing new movie, \u003cem>No Sudden Move\u003c/em>, continues this trend. It’s an ensemble crime thriller set in 1954 Detroit, a gorgeously designed world of fedoras and trenchcoats, smoky wood-paneled offices and vintage automobiles. Like the classic ’50s noirs that inspired it, Ed Solomon’s densely plotted script is full of double-crosses and dirty dealings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the story are two crooks: Don Cheadle plays Curt Goynes, and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1585570\" target=\"_blank\" rel=\"noopener noreferrer\">Benicio Del Toro\u003c/a> plays Ronald Russo. They’re low-level gangsters who’ve been hired by a Mr. Jones—a nicely menacing turn by Brendan Fraser—as part of a plan to coerce a guy named Mark into stealing a top-secret document from the company where he works.\u003c/p>\n\u003cp>Curt and Ronald’s job is to “babysit” Mark’s wife and kids at their home while the theft is taking place. But as you might expect from a tense situation with masked men, loaded guns and a terrified family, the scheme quickly goes awry. Amid the fallout, Curt and Ronald realize they’ve been drawn into a major corporate conspiracy.\u003c/p>\n\u003cp>When the document eventually falls into their possession, they realize they could profit handsomely if they play their cards right—and if they stay alive. It’s a big “if,” as they soon learn there’s a price on their heads. Over the next few days, they run afoul of any number of nasty characters, including a local kingpin played by \u003ca href=\"https://www.npr.org/2012/04/05/148921156/many-colors-of-prejudice-are-revealed-in-dark-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Duke\u003c/a>, and a surly gangster played by an amusingly typecast\u003ca href=\"https://www.npr.org/2016/01/12/462773313/ray-liotta-on-goodfellas-acting-and-his-return-to-tv\" target=\"_blank\" rel=\"noopener noreferrer\"> Ray Liotta\u003c/a>. \u003ca href=\"https://www.npr.org/2010/09/16/129904576/a-transformative-year-for-don-draper-jon-hamm\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Hamm\u003c/a> turns up as a nosy police detective—and looks right at home in the decade before \u003ca href=\"https://www.npr.org/2015/05/18/407619617/mad-men-ends-how-was-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Men\u003c/em>\u003c/a>.\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/7GRDLX3a-IE'\n title='//www.youtube.com/embed/7GRDLX3a-IE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through it all, Cheadle and Del Toro, who have both worked with Soderbergh before, maintain a nicely combative rapport, playing two very different men who have grown weary of their lives of crime. While Ronald plans to retire, Curt has nobler intentions: He wants to pour some of the spoils back into the Black communities in Detroit that have suffered heavily under \u003ca href=\"https://www.npr.org/2017/05/03/526655831/a-forgotten-history-of-how-the-u-s-government-segregated-america\" target=\"_blank\" rel=\"noopener noreferrer\">racist housing policies\u003c/a> and zoning laws.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those are just a few of the many social issues the movie touches on, including the tensions between the city’s Black and Italian populations and the disastrous environmental consequences of an unchecked automobile industry. These matters aren’t always woven as smoothly into the story as they could have been, but they give \u003cem>No Sudden Move\u003c/em> a potent edge nonetheless. You’re pulled in by the suave camerawork and \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Beachler\u003c/a>‘s rich mid-century production design, but you’re also made aware of the inequities churning beneath the surface.\u003c/p>\n\u003cp>That social conscience is nothing new for Soderbergh, who’s made some of his best movies about working-class strivers, from \u003cem>Erin Brockovich\u003c/em> to \u003ca href=\"https://www.npr.org/2012/06/28/155706959/magic-mike-flesh-aplenty-but-more-than-skin-deep\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Magic Mike\u003c/em>\u003c/a>. Here he’s less focused on individuals than an entire corrupt system, showing us how the men in the executive suites are as crooked as the ones shooting each other in the streets. But while \u003cem>No Sudden Move\u003c/em> does feature a lot of awful male misbehavior, Soderbergh has always been just as interested in his female characters, and he doesn’t neglect the crucial roles played by the women in this ’50s gangland setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amy Seimetz—a key force on the Soderbergh-produced series \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=104325729\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Girlfriend Experience\u003c/em>\u003c/a>—gives one of the movie’s best performances as Mark’s wife, Mary. Unlike her feckless fool of a husband, she handles a scary situation with unflappable smarts and courage. There are other terrific actors, too, like Lauren LaStrada, Julia Fox and Frankie Shaw: They may be playing housewives or mistresses or secretaries, but they all have an inner strength or defiant streak, a refusal to let the caddish and controlling men in their lives call the shots. I’d gladly follow any of them into movies of their own—especially if Soderbergh is around to direct them.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27No+Sudden+Move%27+Intrigues+With+Double-Crosses%2C+Dirty+Dealings+In+1950s+Detroit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! ‘The Neutral Ground’ Quells Rebel Yells",
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"content": "\u003cp>Humor has the capacity to disarm, CJ Hunt discovered in his stints as a middle-school teacher and stand-up comic. It’s part of his toolkit as a producer on \u003ci>The Daily Show with Trevor Noah\u003c/i>. But are irony, dry wit and self-mockery effective ways of turning a mirror on racists and Confederate sympathizers, and shifting their thinking?\u003c/p>\n\u003cp>That’s the starting point of \u003cem>\u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">The Neutral Ground\u003c/a>\u003c/em>, Hunt’s informative, entertaining, provocative and sobering contribution to the debate around Civil War monuments. The season opener of PBS’ long-running \u003ci>POV\u003c/i> series, \u003cem>The Neutral Ground\u003c/em> airs Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4.\u003c/p>\n\u003cp>The documentary opens with a bevy of impassioned public comments at a 2015 New Orleans city council meeting, culminating with a vote to remove four Confederate statues. Hunt is wryly skeptical of the pro-monument arguments—“This is our history” and “The Civil War was about states’ rights”—and dispenses some good-natured mockery before digging into the archives for documents in which the leading lights of the Confederacy declare the preservation of slavery as their primary objective.\u003c/p>\n\u003cfigure id=\"attachment_13899788\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Right-wing extremists protest the removal of a Confederate monument in ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time that Hunt positions \u003cem>The Neutral Ground\u003c/em> as both a present-day reconnaissance and a research project, our Black and Filipino guide frames it as a personal journey. But those roots aren’t stereotypically heroic: His father, a Black teacher, reminds Hunt that he had to prod him numerous times growing up before he acknowledged and confronted the reality and legacy of his Black identity.\u003c/p>\n\u003cp>This straight-talk conversation is designed to cast Hunt as an inquisitive everyman rather than an agenda-driven investigator, though it isn’t likely to fool many viewers. It works on a white-whiskered good ol’ boy whom Hunt accompanies to, and through, a full-dress Civil War battle reenactment—until Hunt presents our Southern man with an invitation to visit the Whitney Plantation, a recently opened Louisiana museum about the history of slavery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The subtext of \u003cem>The Neutral Ground\u003c/em> is the way in which the Black experience—of slavery, of post-Reconstruction, of Jim Crow, of contemporary police violence, of the latent racism championed by the twice-impeached previous president—is continually ignored, denied and/or literally whitewashed. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" rel=\"noopener noreferrer\" target=\"_blank\">Summer of Soul\u003c/a>\u003c/em>, Questlove’s dense, intense and essential documentary about the pivotal-yet-underrated Harlem Cultural Festival of 1969, hits that note as well.[aside postID='arts_13899714']\u003c/p>\n\u003cp>While vignettes and one-liners stick in a viewer’s memory, factual information is arguably the most valuable part of documentaries like \u003cem>The Neutral Ground\u003c/em>. Hunt exposes the roots of the Lost Cause fairy tale as a feel-good sop to the widows and mothers of Confederate casualties (hence the preponderance of monuments in cemeteries) and as a reassertion of white power once federal officials departed after Reconstruction (bluntly expressed by the placement of statues of Jefferson Davis, et al. adjacent to courthouses and other government buildings).\u003c/p>\n\u003cfigure id=\"attachment_13899789\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Robert E. Lee monument removal in New Orleans, a scene from ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the course of destroying the monument-defenders’ selective and disingenuous arguments—the type of arguments that have become hallmark of the modern Right—Hunt reveals what makes them so hard to combat. From TV-studio propagandists to hate-fueled foot soldiers, those in support of Confederate symbols have a weasel-like propensity to effortlessly segue from aggrieved victims to mob-backed intimidators. \u003c/p>\n\u003cp>For those who need a couple seconds to ford the gulf between Southern myths and factual history, Hunt provides Karen Elson’s haunting recording of “Dixie” with the Secret Sisters. Bringing it all back home at the end of the film, New Orleans native Tarriona “Tank” Ball delivers her version of the erstwhile battle hymn.\u003c/p>\n\u003cp>But before Hunt winds up where he began, he visits Charlottesville during the August 2017 Unite the Right rally where Heather Heyer was killed. The jokes and sight gags have been dwindling for a while, but irreverence gives way to terror in Virginia. There’s nothing funny about 21st-century white supremacists. \u003c/p>\n\u003cp>With that sequence, Hunt demolishes another beloved fallacy about the Civil War and its various legacies: There is no neutral ground.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘The Neutral Ground’ airs on ‘POV’ Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4. \u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Humor has the capacity to disarm, CJ Hunt discovered in his stints as a middle-school teacher and stand-up comic. It’s part of his toolkit as a producer on \u003ci>The Daily Show with Trevor Noah\u003c/i>. But are irony, dry wit and self-mockery effective ways of turning a mirror on racists and Confederate sympathizers, and shifting their thinking?\u003c/p>\n\u003cp>That’s the starting point of \u003cem>\u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">The Neutral Ground\u003c/a>\u003c/em>, Hunt’s informative, entertaining, provocative and sobering contribution to the debate around Civil War monuments. The season opener of PBS’ long-running \u003ci>POV\u003c/i> series, \u003cem>The Neutral Ground\u003c/em> airs Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4.\u003c/p>\n\u003cp>The documentary opens with a bevy of impassioned public comments at a 2015 New Orleans city council meeting, culminating with a vote to remove four Confederate statues. Hunt is wryly skeptical of the pro-monument arguments—“This is our history” and “The Civil War was about states’ rights”—and dispenses some good-natured mockery before digging into the archives for documents in which the leading lights of the Confederacy declare the preservation of slavery as their primary objective.\u003c/p>\n\u003cfigure id=\"attachment_13899788\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Right-wing extremists protest the removal of a Confederate monument in ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time that Hunt positions \u003cem>The Neutral Ground\u003c/em> as both a present-day reconnaissance and a research project, our Black and Filipino guide frames it as a personal journey. But those roots aren’t stereotypically heroic: His father, a Black teacher, reminds Hunt that he had to prod him numerous times growing up before he acknowledged and confronted the reality and legacy of his Black identity.\u003c/p>\n\u003cp>This straight-talk conversation is designed to cast Hunt as an inquisitive everyman rather than an agenda-driven investigator, though it isn’t likely to fool many viewers. It works on a white-whiskered good ol’ boy whom Hunt accompanies to, and through, a full-dress Civil War battle reenactment—until Hunt presents our Southern man with an invitation to visit the Whitney Plantation, a recently opened Louisiana museum about the history of slavery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The subtext of \u003cem>The Neutral Ground\u003c/em> is the way in which the Black experience—of slavery, of post-Reconstruction, of Jim Crow, of contemporary police violence, of the latent racism championed by the twice-impeached previous president—is continually ignored, denied and/or literally whitewashed. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" rel=\"noopener noreferrer\" target=\"_blank\">Summer of Soul\u003c/a>\u003c/em>, Questlove’s dense, intense and essential documentary about the pivotal-yet-underrated Harlem Cultural Festival of 1969, hits that note as well.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While vignettes and one-liners stick in a viewer’s memory, factual information is arguably the most valuable part of documentaries like \u003cem>The Neutral Ground\u003c/em>. Hunt exposes the roots of the Lost Cause fairy tale as a feel-good sop to the widows and mothers of Confederate casualties (hence the preponderance of monuments in cemeteries) and as a reassertion of white power once federal officials departed after Reconstruction (bluntly expressed by the placement of statues of Jefferson Davis, et al. adjacent to courthouses and other government buildings).\u003c/p>\n\u003cfigure id=\"attachment_13899789\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Robert E. Lee monument removal in New Orleans, a scene from ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the course of destroying the monument-defenders’ selective and disingenuous arguments—the type of arguments that have become hallmark of the modern Right—Hunt reveals what makes them so hard to combat. From TV-studio propagandists to hate-fueled foot soldiers, those in support of Confederate symbols have a weasel-like propensity to effortlessly segue from aggrieved victims to mob-backed intimidators. \u003c/p>\n\u003cp>For those who need a couple seconds to ford the gulf between Southern myths and factual history, Hunt provides Karen Elson’s haunting recording of “Dixie” with the Secret Sisters. Bringing it all back home at the end of the film, New Orleans native Tarriona “Tank” Ball delivers her version of the erstwhile battle hymn.\u003c/p>\n\u003cp>But before Hunt winds up where he began, he visits Charlottesville during the August 2017 Unite the Right rally where Heather Heyer was killed. The jokes and sight gags have been dwindling for a while, but irreverence gives way to terror in Virginia. There’s nothing funny about 21st-century white supremacists. \u003c/p>\n\u003cp>With that sequence, Hunt demolishes another beloved fallacy about the Civil War and its various legacies: There is no neutral ground.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘The Neutral Ground’ airs on ‘POV’ Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4. \u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock",
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"content": "\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-siC9cugqA\u003c/p>\n\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>[aside postid='arts_13889915']“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Back in April, Vin Diesel appeared in an ad not just for his upcoming action movie, but for the action of \u003ci>\u003ca href=\"https://youtu.be/5eblKqTZ-0Q\" rel=\"noopener noreferrer\" target=\"_blank\">going to the movies\u003c/a>\u003c/i>. “We’re ready to make you believe again,” he rumbled in that subwoofer voice. My bones vibrated—I was ready to be made to believe.\u003c/p>\n\u003cp>So, for my first moviegoing experience in 16 months, I heeded’s Vin’s siren call and went for the most unsubtle reentry imaginable: \u003ci>F9\u003c/i>, the tenth (!) installment in the sprawling \u003cem>Fast & Furious\u003c/em> franchise. But I was also there to see a new “innovation in cinematic technology.” Forget 3D or IMAX: this was 4DX, developed in South Korea, which uses motion-enabled chairs that tilt, vibrate and punch you in the back. The system pummels viewers with in-theater effects of lightning, rain, fog and strong scents. Think \u003ca href=\"https://en.wikipedia.org/wiki/Star_Tours\" rel=\"noopener noreferrer\" target=\"_blank\">Star Tours\u003c/a>-meets-\u003ca href=\"https://en.wikipedia.org/wiki/Smell-O-Vision\" rel=\"noopener noreferrer\" target=\"_blank\">Smell-o-Vision\u003c/a>. It declares itself the “future of the movie industry.”\u003c/p>\n\u003cp>If you’re reading the above and asking \u003cem>whyyy\u003c/em>, I would remind you that we spent the past year and a half cooped up with small-scale, domestic-sized distractions. 4DX, to me, was an opportunity to be overwhelmed—not as I have been by grief and anxiety, but by some Futurist’s fever dream of entertainment.\u003c/p>\n\u003cp>As if to fulfill this exact need, Regal constructed a new movie theater over the past year in San Francisco’s Stonestown Galleria with a 4DX viewing option—one that comes with a lengthy set of warnings about the shaking you’ll experience. (Secure your valuables, no hot liquids, don’t eat or drink during “intense scenes.”)\u003c/p>\n\u003cfigure id=\"attachment_13899566\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/f9_gallery_04.jpeg\" alt=\"\" width=\"1200\" height=\"600\" class=\"size-full wp-image-13899566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dom (Vin Diesel) and his newly revealed super-spy brother Jakob (John Cena) face off in ‘F9.’ \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>F9\u003c/i>, of course, is filled to the brim with intense scenes. Over the course of its 20 years, the \u003cem>Fast & Furious\u003c/em> franchise has morphed from relatively low-stakes car-facilitated heists and street racing to international—and with this one, interstellar—espionage. (A Pontiac Fiero goes to space!) \u003ci>Fast & Furious\u003c/i> movies are rooted in action sequences that boggle the mind. 4DX promised to simultaneously boggle my body. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can’t demonstrably speak to the plot of \u003ci>F9\u003c/i>, because I spent a lot of \u003ci>F9\u003c/i> concentrating solely on not sliding off my seat, but as far as \u003ci>Fast & Furious\u003c/i> movies go, this one does everything you’ve come to expect, and does it very well. (Justin Lin is back in the director’s seat, and it’s a joy to behold.) The team must assemble to prevent a quickly sketched-out plot to take over the world. There’s an arch villain who turns out to be Dom Toretto’s (Vin Diesel) previously unmentioned brother Jakob (John Cena). There are establishing shots with cool architecture. Cars do crazy things.\u003c/p>\n\u003cp>https://youtu.be/Oc96V0ryoJY\u003c/p>\n\u003cp>Meanwhile, the 4DX theater seemed to want to impress upon me the \u003cem>seriousness\u003c/em> (see above) of the physical feats I was witnessing. When Dom somehow hooked one end of a suspended bridge under the front bumper of his car and swung across an impossible expanse to safety, my seat shook violently. When Ramsey (Nathalie Emmanuel) inexpertly drove through the streets of Edinburgh ramming into other cars, my seat shook violently. And when Letty and Mia Toretto (Jordana Brewster) fought completely unexplained attackers in Tokyo—you guessed it—my seat shook violently.\u003c/p>\n\u003cp>In the context of the unequivocally fun \u003ci>F9\u003c/i>, the herky-jerky bucking only served to heighten my mood of elation. Nothing can ground these movies in reality! Seconds into my first seat shake, I was cackling at the top of my lungs, my brain rattling around in my head, completely untethered from reason.\u003c/p>\n\u003cp>Lest I focus too much on the mechanical bull ride that was my seat, I guess there were also scents? I kept my mask on the entire time I was indoors, therefore blocking what might have been the precisely calibrated smells of burning rubber or rocket fuel. But given the “one shake fits all” application of other effects, I doubt I missed anything. \u003c/p>\n\u003cfigure id=\"attachment_13899567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/f9_gallery_08.jpeg\" alt=\"\" width=\"1200\" height=\"600\" class=\"size-full wp-image-13899567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tej (Ludacris) and Roman (Tyrese Gibson) provide meta-commentary and comedic relief throughout ‘F9.’ \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I can testify, however, to the presence of water. The only customizable element of the 4DX experience was a pair of buttons on each armrest: WATER ON or WATER OFF. As I’ve mentioned, my motto during this outing was “bring it all on.” And so during a scene with a rainstorm, a single drop of cold water landed on my head, like a gross gift from a window-mounted air conditioner on a hot New York day. The audience collectively gasped and tittered nervously, perhaps expecting more where that came from. (Respectful of the drought, the 4DX experience practiced moderation.)\u003c/p>\n\u003cp>But if I had to pinpoint one thing that really put the chamber of cheesy effects over the top, it was the fog. Whenever anything exploded in \u003ci>F9\u003c/i>, smoke would billow unevenly from the left and right sides of the screen, at times blocking the projection and therefore obscuring the action it was meant to complement. \u003c/p>\n\u003cp>Nearly three-quarters through the movie, my friends and I noticed the left smoke machine working overtime, releasing white clouds to such an extent that the people seated near it were waving their arms in a futile attempt to dissipate the fog enveloping them. From that point forward, all focus on the logic of the film’s increasingly preposterous action sequences was gone. We dissolved into snorts and giggles every time the smoke issued forth, while those poor audience members were blinded for whole minutes at a time.\u003c/p>\n\u003cp>The 4DX effects had created their own subplot to \u003ci>F9\u003c/i>: a slapstick comedy of tech gone wrong.\u003c/p>\n\u003cfigure id=\"attachment_13899568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/f9_gallery_03.jpeg\" alt=\"\" width=\"1200\" height=\"600\" class=\"size-full wp-image-13899568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Letty (Michelle Rodriguez) and Mia Toretto (Jordana Brewster) get a side-plot, affirm their sisterly bond in Tokyo. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What ultimately emerges in the 4DX experience, besides a radically uneven back massage, is a strange upheaval of who we’re meant to identify with. In a typical 2D viewing of a \u003ci>Fast & Furious\u003c/i> film, we are part of Dom’s crew. We’re family! A standard evolution from sequel to sequel is an incorporation of the previous movie’s rehabilitated villain/antagonist into a member of our anti-hero team. (This is an echo of the first movie’s trajectory and also the plot of \u003ci>Point Break\u003c/i>.) \u003c/p>\n\u003cp>But with 4DX effects, a single scene would have us shifting points of view, from Letty to Jakob to a nameless henchman getting beat up in the back of a box truck. Any and all movement that \u003ci>could\u003c/i> be relayed into the 4DX seat \u003ci>was\u003c/i> relayed into the 4DX seat. And in this respect, maybe the forgiving morals of \u003ci>F9\u003c/i> and the mechanics of 4DX did merge in some sort of perfect, simulated storm. What is empathy, after all, if not to feel the pain of others? Repeatedly, just below your left scapula?\u003c/p>\n\u003cp>If I am to take 4DX’s advertising at face value, the “future of the movie industry” is utterly ridiculous and a whole hell of a lot of fun, even unintentionally. But, like many things so bad they’re good: once is enough.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘F9’ is playing in body-assaulting 4DX at Regal Stonestown Galleria in San Francisco. \u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&at=2021-06-30&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "What better way to reenter society than an amusement park-style moviegoing experience—plus Vin Diesel?",
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"title": "Can ‘F9’ Get Faster and Furiouser? I Saw It in Seat-Shaking 4DX to Find Out. | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in April, Vin Diesel appeared in an ad not just for his upcoming action movie, but for the action of \u003ci>\u003ca href=\"https://youtu.be/5eblKqTZ-0Q\" rel=\"noopener noreferrer\" target=\"_blank\">going to the movies\u003c/a>\u003c/i>. “We’re ready to make you believe again,” he rumbled in that subwoofer voice. My bones vibrated—I was ready to be made to believe.\u003c/p>\n\u003cp>So, for my first moviegoing experience in 16 months, I heeded’s Vin’s siren call and went for the most unsubtle reentry imaginable: \u003ci>F9\u003c/i>, the tenth (!) installment in the sprawling \u003cem>Fast & Furious\u003c/em> franchise. But I was also there to see a new “innovation in cinematic technology.” Forget 3D or IMAX: this was 4DX, developed in South Korea, which uses motion-enabled chairs that tilt, vibrate and punch you in the back. The system pummels viewers with in-theater effects of lightning, rain, fog and strong scents. Think \u003ca href=\"https://en.wikipedia.org/wiki/Star_Tours\" rel=\"noopener noreferrer\" target=\"_blank\">Star Tours\u003c/a>-meets-\u003ca href=\"https://en.wikipedia.org/wiki/Smell-O-Vision\" rel=\"noopener noreferrer\" target=\"_blank\">Smell-o-Vision\u003c/a>. It declares itself the “future of the movie industry.”\u003c/p>\n\u003cp>If you’re reading the above and asking \u003cem>whyyy\u003c/em>, I would remind you that we spent the past year and a half cooped up with small-scale, domestic-sized distractions. 4DX, to me, was an opportunity to be overwhelmed—not as I have been by grief and anxiety, but by some Futurist’s fever dream of entertainment.\u003c/p>\n\u003cp>As if to fulfill this exact need, Regal constructed a new movie theater over the past year in San Francisco’s Stonestown Galleria with a 4DX viewing option—one that comes with a lengthy set of warnings about the shaking you’ll experience. (Secure your valuables, no hot liquids, don’t eat or drink during “intense scenes.”)\u003c/p>\n\u003cfigure id=\"attachment_13899566\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/f9_gallery_04.jpeg\" alt=\"\" width=\"1200\" height=\"600\" class=\"size-full wp-image-13899566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_04-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dom (Vin Diesel) and his newly revealed super-spy brother Jakob (John Cena) face off in ‘F9.’ \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>F9\u003c/i>, of course, is filled to the brim with intense scenes. Over the course of its 20 years, the \u003cem>Fast & Furious\u003c/em> franchise has morphed from relatively low-stakes car-facilitated heists and street racing to international—and with this one, interstellar—espionage. (A Pontiac Fiero goes to space!) \u003ci>Fast & Furious\u003c/i> movies are rooted in action sequences that boggle the mind. 4DX promised to simultaneously boggle my body. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I can’t demonstrably speak to the plot of \u003ci>F9\u003c/i>, because I spent a lot of \u003ci>F9\u003c/i> concentrating solely on not sliding off my seat, but as far as \u003ci>Fast & Furious\u003c/i> movies go, this one does everything you’ve come to expect, and does it very well. (Justin Lin is back in the director’s seat, and it’s a joy to behold.) The team must assemble to prevent a quickly sketched-out plot to take over the world. There’s an arch villain who turns out to be Dom Toretto’s (Vin Diesel) previously unmentioned brother Jakob (John Cena). There are establishing shots with cool architecture. Cars do crazy things.\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/Oc96V0ryoJY'\n title='//www.youtube.com/embed/Oc96V0ryoJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, the 4DX theater seemed to want to impress upon me the \u003cem>seriousness\u003c/em> (see above) of the physical feats I was witnessing. When Dom somehow hooked one end of a suspended bridge under the front bumper of his car and swung across an impossible expanse to safety, my seat shook violently. When Ramsey (Nathalie Emmanuel) inexpertly drove through the streets of Edinburgh ramming into other cars, my seat shook violently. And when Letty and Mia Toretto (Jordana Brewster) fought completely unexplained attackers in Tokyo—you guessed it—my seat shook violently.\u003c/p>\n\u003cp>In the context of the unequivocally fun \u003ci>F9\u003c/i>, the herky-jerky bucking only served to heighten my mood of elation. Nothing can ground these movies in reality! Seconds into my first seat shake, I was cackling at the top of my lungs, my brain rattling around in my head, completely untethered from reason.\u003c/p>\n\u003cp>Lest I focus too much on the mechanical bull ride that was my seat, I guess there were also scents? I kept my mask on the entire time I was indoors, therefore blocking what might have been the precisely calibrated smells of burning rubber or rocket fuel. But given the “one shake fits all” application of other effects, I doubt I missed anything. \u003c/p>\n\u003cfigure id=\"attachment_13899567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/f9_gallery_08.jpeg\" alt=\"\" width=\"1200\" height=\"600\" class=\"size-full wp-image-13899567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_08-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tej (Ludacris) and Roman (Tyrese Gibson) provide meta-commentary and comedic relief throughout ‘F9.’ \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I can testify, however, to the presence of water. The only customizable element of the 4DX experience was a pair of buttons on each armrest: WATER ON or WATER OFF. As I’ve mentioned, my motto during this outing was “bring it all on.” And so during a scene with a rainstorm, a single drop of cold water landed on my head, like a gross gift from a window-mounted air conditioner on a hot New York day. The audience collectively gasped and tittered nervously, perhaps expecting more where that came from. (Respectful of the drought, the 4DX experience practiced moderation.)\u003c/p>\n\u003cp>But if I had to pinpoint one thing that really put the chamber of cheesy effects over the top, it was the fog. Whenever anything exploded in \u003ci>F9\u003c/i>, smoke would billow unevenly from the left and right sides of the screen, at times blocking the projection and therefore obscuring the action it was meant to complement. \u003c/p>\n\u003cp>Nearly three-quarters through the movie, my friends and I noticed the left smoke machine working overtime, releasing white clouds to such an extent that the people seated near it were waving their arms in a futile attempt to dissipate the fog enveloping them. From that point forward, all focus on the logic of the film’s increasingly preposterous action sequences was gone. We dissolved into snorts and giggles every time the smoke issued forth, while those poor audience members were blinded for whole minutes at a time.\u003c/p>\n\u003cp>The 4DX effects had created their own subplot to \u003ci>F9\u003c/i>: a slapstick comedy of tech gone wrong.\u003c/p>\n\u003cfigure id=\"attachment_13899568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/f9_gallery_03.jpeg\" alt=\"\" width=\"1200\" height=\"600\" class=\"size-full wp-image-13899568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/f9_gallery_03-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Letty (Michelle Rodriguez) and Mia Toretto (Jordana Brewster) get a side-plot, affirm their sisterly bond in Tokyo. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What ultimately emerges in the 4DX experience, besides a radically uneven back massage, is a strange upheaval of who we’re meant to identify with. In a typical 2D viewing of a \u003ci>Fast & Furious\u003c/i> film, we are part of Dom’s crew. We’re family! A standard evolution from sequel to sequel is an incorporation of the previous movie’s rehabilitated villain/antagonist into a member of our anti-hero team. (This is an echo of the first movie’s trajectory and also the plot of \u003ci>Point Break\u003c/i>.) \u003c/p>\n\u003cp>But with 4DX effects, a single scene would have us shifting points of view, from Letty to Jakob to a nameless henchman getting beat up in the back of a box truck. Any and all movement that \u003ci>could\u003c/i> be relayed into the 4DX seat \u003ci>was\u003c/i> relayed into the 4DX seat. And in this respect, maybe the forgiving morals of \u003ci>F9\u003c/i> and the mechanics of 4DX did merge in some sort of perfect, simulated storm. What is empathy, after all, if not to feel the pain of others? Repeatedly, just below your left scapula?\u003c/p>\n\u003cp>If I am to take 4DX’s advertising at face value, the “future of the movie industry” is utterly ridiculous and a whole hell of a lot of fun, even unintentionally. But, like many things so bad they’re good: once is enough.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘F9’ is playing in body-assaulting 4DX at Regal Stonestown Galleria in San Francisco. \u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&at=2021-06-30&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Zola' Takes a Twitter Thread and Turns It Into a Fever Dream on Film",
"headTitle": "‘Zola’ Takes a Twitter Thread and Turns It Into a Fever Dream on Film | KQED",
"content": "\u003cp>There are eyes, and then there are Taylour Paige’s eyes.\u003c/p>\n\u003cp>In \u003cem>Zola\u003c/em>, a crackling, absurdist road trip movie inspired by a crackling, absurdist Twitter thread, the camera’s gaze is frequently drawn to the bodily form—a stripper’s smooth, exposed curves; a man’s languid, exposed junk; lips being painted a deep cherry red; long, slender fingernails clinking against a window.\u003c/p>\n\u003cp>But then there are Paige’s eyes, which convey more in a shift, squint, or roll than some performers can with their entire corporeal being. Those glances, those \u003cem>looks\u003c/em>, are the delectable amuse-bouche in this feast of storytelling, and a grounding presence for the viewer amidst all the madness and weirdness that ultimately unfolds.\u003c/p>\n\u003cp>But hold up—\u003cem>insert brief freeze-frame here—\u003c/em>allow me to back up and explain. In 2015, a Detroit waitress and exotic dancer named A’Ziah “Zola” King crafted a viral, vivid \u003ca href=\"https://imgur.com/a/WDwyW\" target=\"_blank\" rel=\"noopener noreferrer\">148-tweet thread\u003c/a> recounting a wild trip she took to Tampa, Fla. upon an invitation from Jessica, a white woman and fellow exotic dancer she’d known for exactly one day. The story involved a cast of indelible characters, including Jessica’s pimp Z, a menacing dude who would suddenly possess an “African accent” during fits of rage, and Jessica’s boyfriend Jarret, an awkward, pitiful guy who just wanted her to stop being a sex worker.\u003c/p>\n\u003cp>Yet Zola herself was undoubtedly the star of this story. From that very first opening line, accompanied by selfies of the author and Jessica together, it was obvious she has a bold personality and a spiky way with words: “Y’all wanna hear a story about why me and this b—- here fell out???????? It’s kind of long but full of suspense.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now Zola’s comedy of errors has been dramatized for the screen, directed by Janicza Bravo, who co-wrote the script with Jeremy O. Harris. Their \u003cem>Zola \u003c/em>wisely takes its cues from the source, hewing closely to the main plot twists and turns, sometimes quoting King’s Tweets directly. Names have been changed: Jessica is now Stefani (Riley Keough), Z is now X (Colman Domingo) and Jarrett is now Derrek (Nicholas Braun). But these colorful characters build on the energy of that thread, playing even more vividly than you might have imagined them in your head.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=24KbaKlCDDI\u003c/p>\n\u003cp>Stefani is bombastic, spilling forth with an over-the-top “blaccent”—perhaps Keough is channeling Bhad Bhabie, the white rapper and celebrity who became known as the \u003ca href=\"https://nymag.com/intelligencer/2017/02/what-is-cash-me-outside-howbow-dat-meme-from-dr-phil.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Cash me outside” girl\u003c/a> after an infamous appearance on \u003cem>Dr. Phil—\u003c/em>that is at once inviting and ominous. From the get-go she seems suspect, a little too friendly and overly familiar when first encountering Zola, her waitress at a sports bar-type establishment. (Her first comment to Zola is an unfiltered compliment of her breasts.) And Zola herself seems wary of this whirlwind of a woman—again, it’s all there in the eyes—but you can also see how someone like her might be seduced into traveling across the country with a complete stranger like Stefani, who promises a windfall of cash for a night or two of dancing at a club. It’s because of the money, yes, but it’s also because of the possibility for adventure.\u003c/p>\n\u003cp>[aside postid='arts_13898815']Of course, if you recall the Tweets that started it all, you’re aware Zola isn’t so much seduced as she is bamboozled by Stefani, and once they’ve reached the south, things quickly go south. In the vein of plenty of movies set in Florida—especially \u003cem>Spring Breakers\u003c/em>, another tale of young white women gone ratchet—there’s always a sense that danger; the truly bizarre, or some combination of the two, is lurking around every corner. There’s a surrealistic quality to the aesthetic, the camera’s lens emitting a haze evoking both humidity and a dream-like state.\u003c/p>\n\u003cp>Writer-director Janicza Bravo and co-writer Jeremy O. Harris find a distinct, playful rhythm in nearly every image, sound, and piece of dialogue. Text message exchanges don’t appear onscreen as they would on a phone, but instead are spoken aloud by the actors in a borderline-mono-tone as they type and recite at the same time; it suggests the zombifying role technology plays in our lives even as it carves out more avenues for connection. As if mimicking re-tweet and share buttons, dialogue, imagery, and sounds are often repeated, layered side by side or intermittent. (One striking motif depicts Zola posing and preening in a hall of mirrors, her many reflections spanning the entire frame).\u003c/p>\n\u003cp>And as Paige’s Zola narrates the adventure, she echoes the real-life Zola’s written cadence, delivering some of the film’s funniest moments as she reacts to her increasingly worrying surroundings. A movie like this could easily turn into a tale where the protagonist is merely a bystander along with the viewer, with everything happening \u003cem>to \u003c/em>her and no sign of agency or personality in sight. But again, I come back to Paige’s performance and how so much of it rides on what she does with those eyes, and not what she says. You know how there are some people who suck at making a poker face—the ones who just can’t possibly suppress the expressions that stream across their face no matter how hard they try? That’s Zola. During one of the movie’s recurring freeze-frame moments, Zola advises us to “watch every move” Stefani makes going forward. The same should be stressed in regard to Zola, who seems to instinctively know when to sit back and observe, when to assert herself, and when she needs to be worried. It’s all there on her face.\u003c/p>\n\u003cfigure id=\"attachment_13899532\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/zola-5033f45e6ba789860df90780db58ea54dc1d49aa-800x600.jpg\" alt=\"Taylour Paige stars as the on-screen incarnation of Zola.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Taylour Paige stars as the on-screen incarnation of Zola. \u003ccite>(A24 Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real-life Zola was reportedly involved behind-the-scenes, \u003ca href=\"https://www.vulture.com/article/aziah-zola-king-profile.html\" target=\"_blank\" rel=\"noopener noreferrer\">approving the script\u003c/a> and receiving an executive producing credit, a move that seems to have kept the film from the very real danger of being exploitative of King’s story. It also helps that Bravo and Harris are an ideal match for this narrative, as both creators possess styles tending to revel in the discomforting and disorienting as a means of saying the quiet, horrifying parts people are not “supposed to” reveal out loud. (See \u003cem>Lemon\u003c/em>, Bravo’s subversive directorial debut interrogating an insidious brand of white male intellectualism; and \u003cem>Slave Play\u003c/em>, Harris’s polarizing, Tony-nominated Broadway debut bluntly confronting modern interracial relationships.)\u003c/p>\n\u003cp>[aside postid='arts_13898794']These perspectives help bring \u003cem>Zola \u003c/em>into a realm beyond clever Twitter adaptation, and center her point of view as an illustration of the precarity of existing as a Black woman in the world. When Zola does choose to assert herself and make her feelings known—”This is messy! \u003cem>You \u003c/em>are messy!”—she’s routinely dismissed and ignored by the others. It’s an extreme representation of a common feeling many Black women have felt at one time or another: How you can be taken advantage of and told everything is fine when you know in your gut that it’s not; can be told you’re overreacting to something that’s happening to you when you know you’re supposed to feel this way. In fact, it’s \u003cem>good \u003c/em>and \u003cem>smart \u003c/em>to feel this way, because that’s how you preserve yourself. Zola’s whirlwind dalliance with Stefani and her associates plays like a fever dream doubling as an allegory for gaslighting. It’s a jolt when, at a pivotal point, she wonders aloud, “Who’s looking out for \u003cem>me\u003c/em>?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The third act stumbles a bit over typical third-act problems—how to maintain momentum and surprise after so much build amidst twists and turns?—and the ending feels to me a bit abrupt. But it’s a small price to pay for entering this realm and experiencing it through Zola’s eyes, in all its richness. It may have taken several years to shift from tweet to screen, but it’s well worth the wait.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Zola%27+Takes+A+Twitter+Thread+And+Turns+It+Into+A+Fever+Dream+On+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are eyes, and then there are Taylour Paige’s eyes.\u003c/p>\n\u003cp>In \u003cem>Zola\u003c/em>, a crackling, absurdist road trip movie inspired by a crackling, absurdist Twitter thread, the camera’s gaze is frequently drawn to the bodily form—a stripper’s smooth, exposed curves; a man’s languid, exposed junk; lips being painted a deep cherry red; long, slender fingernails clinking against a window.\u003c/p>\n\u003cp>But then there are Paige’s eyes, which convey more in a shift, squint, or roll than some performers can with their entire corporeal being. Those glances, those \u003cem>looks\u003c/em>, are the delectable amuse-bouche in this feast of storytelling, and a grounding presence for the viewer amidst all the madness and weirdness that ultimately unfolds.\u003c/p>\n\u003cp>But hold up—\u003cem>insert brief freeze-frame here—\u003c/em>allow me to back up and explain. In 2015, a Detroit waitress and exotic dancer named A’Ziah “Zola” King crafted a viral, vivid \u003ca href=\"https://imgur.com/a/WDwyW\" target=\"_blank\" rel=\"noopener noreferrer\">148-tweet thread\u003c/a> recounting a wild trip she took to Tampa, Fla. upon an invitation from Jessica, a white woman and fellow exotic dancer she’d known for exactly one day. The story involved a cast of indelible characters, including Jessica’s pimp Z, a menacing dude who would suddenly possess an “African accent” during fits of rage, and Jessica’s boyfriend Jarret, an awkward, pitiful guy who just wanted her to stop being a sex worker.\u003c/p>\n\u003cp>Yet Zola herself was undoubtedly the star of this story. From that very first opening line, accompanied by selfies of the author and Jessica together, it was obvious she has a bold personality and a spiky way with words: “Y’all wanna hear a story about why me and this b—- here fell out???????? It’s kind of long but full of suspense.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now Zola’s comedy of errors has been dramatized for the screen, directed by Janicza Bravo, who co-wrote the script with Jeremy O. Harris. Their \u003cem>Zola \u003c/em>wisely takes its cues from the source, hewing closely to the main plot twists and turns, sometimes quoting King’s Tweets directly. Names have been changed: Jessica is now Stefani (Riley Keough), Z is now X (Colman Domingo) and Jarrett is now Derrek (Nicholas Braun). But these colorful characters build on the energy of that thread, playing even more vividly than you might have imagined them in your head.\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/24KbaKlCDDI'\n title='//www.youtube.com/embed/24KbaKlCDDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stefani is bombastic, spilling forth with an over-the-top “blaccent”—perhaps Keough is channeling Bhad Bhabie, the white rapper and celebrity who became known as the \u003ca href=\"https://nymag.com/intelligencer/2017/02/what-is-cash-me-outside-howbow-dat-meme-from-dr-phil.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Cash me outside” girl\u003c/a> after an infamous appearance on \u003cem>Dr. Phil—\u003c/em>that is at once inviting and ominous. From the get-go she seems suspect, a little too friendly and overly familiar when first encountering Zola, her waitress at a sports bar-type establishment. (Her first comment to Zola is an unfiltered compliment of her breasts.) And Zola herself seems wary of this whirlwind of a woman—again, it’s all there in the eyes—but you can also see how someone like her might be seduced into traveling across the country with a complete stranger like Stefani, who promises a windfall of cash for a night or two of dancing at a club. It’s because of the money, yes, but it’s also because of the possibility for adventure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, if you recall the Tweets that started it all, you’re aware Zola isn’t so much seduced as she is bamboozled by Stefani, and once they’ve reached the south, things quickly go south. In the vein of plenty of movies set in Florida—especially \u003cem>Spring Breakers\u003c/em>, another tale of young white women gone ratchet—there’s always a sense that danger; the truly bizarre, or some combination of the two, is lurking around every corner. There’s a surrealistic quality to the aesthetic, the camera’s lens emitting a haze evoking both humidity and a dream-like state.\u003c/p>\n\u003cp>Writer-director Janicza Bravo and co-writer Jeremy O. Harris find a distinct, playful rhythm in nearly every image, sound, and piece of dialogue. Text message exchanges don’t appear onscreen as they would on a phone, but instead are spoken aloud by the actors in a borderline-mono-tone as they type and recite at the same time; it suggests the zombifying role technology plays in our lives even as it carves out more avenues for connection. As if mimicking re-tweet and share buttons, dialogue, imagery, and sounds are often repeated, layered side by side or intermittent. (One striking motif depicts Zola posing and preening in a hall of mirrors, her many reflections spanning the entire frame).\u003c/p>\n\u003cp>And as Paige’s Zola narrates the adventure, she echoes the real-life Zola’s written cadence, delivering some of the film’s funniest moments as she reacts to her increasingly worrying surroundings. A movie like this could easily turn into a tale where the protagonist is merely a bystander along with the viewer, with everything happening \u003cem>to \u003c/em>her and no sign of agency or personality in sight. But again, I come back to Paige’s performance and how so much of it rides on what she does with those eyes, and not what she says. You know how there are some people who suck at making a poker face—the ones who just can’t possibly suppress the expressions that stream across their face no matter how hard they try? That’s Zola. During one of the movie’s recurring freeze-frame moments, Zola advises us to “watch every move” Stefani makes going forward. The same should be stressed in regard to Zola, who seems to instinctively know when to sit back and observe, when to assert herself, and when she needs to be worried. It’s all there on her face.\u003c/p>\n\u003cfigure id=\"attachment_13899532\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/zola-5033f45e6ba789860df90780db58ea54dc1d49aa-800x600.jpg\" alt=\"Taylour Paige stars as the on-screen incarnation of Zola.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Taylour Paige stars as the on-screen incarnation of Zola. \u003ccite>(A24 Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real-life Zola was reportedly involved behind-the-scenes, \u003ca href=\"https://www.vulture.com/article/aziah-zola-king-profile.html\" target=\"_blank\" rel=\"noopener noreferrer\">approving the script\u003c/a> and receiving an executive producing credit, a move that seems to have kept the film from the very real danger of being exploitative of King’s story. It also helps that Bravo and Harris are an ideal match for this narrative, as both creators possess styles tending to revel in the discomforting and disorienting as a means of saying the quiet, horrifying parts people are not “supposed to” reveal out loud. (See \u003cem>Lemon\u003c/em>, Bravo’s subversive directorial debut interrogating an insidious brand of white male intellectualism; and \u003cem>Slave Play\u003c/em>, Harris’s polarizing, Tony-nominated Broadway debut bluntly confronting modern interracial relationships.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These perspectives help bring \u003cem>Zola \u003c/em>into a realm beyond clever Twitter adaptation, and center her point of view as an illustration of the precarity of existing as a Black woman in the world. When Zola does choose to assert herself and make her feelings known—”This is messy! \u003cem>You \u003c/em>are messy!”—she’s routinely dismissed and ignored by the others. It’s an extreme representation of a common feeling many Black women have felt at one time or another: How you can be taken advantage of and told everything is fine when you know in your gut that it’s not; can be told you’re overreacting to something that’s happening to you when you know you’re supposed to feel this way. In fact, it’s \u003cem>good \u003c/em>and \u003cem>smart \u003c/em>to feel this way, because that’s how you preserve yourself. Zola’s whirlwind dalliance with Stefani and her associates plays like a fever dream doubling as an allegory for gaslighting. It’s a jolt when, at a pivotal point, she wonders aloud, “Who’s looking out for \u003cem>me\u003c/em>?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The third act stumbles a bit over typical third-act problems—how to maintain momentum and surprise after so much build amidst twists and turns?—and the ending feels to me a bit abrupt. But it’s a small price to pay for entering this realm and experiencing it through Zola’s eyes, in all its richness. It may have taken several years to shift from tweet to screen, but it’s well worth the wait.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Zola%27+Takes+A+Twitter+Thread+And+Turns+It+Into+A+Fever+Dream+On+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>No one will confuse Zoom meetings with Hollywood auditions, but admit it: You were tempted at least once in the claustrophobic depths of 2020 to deliver your favorite movie speech (\u003cem>The Maltese Falcon\u003c/em>? \u003cem>Network\u003c/em>? \u003cem>Dead Poets Society\u003c/em>?) instead of the monthly sales figures from greater Fresno.\u003c/p>\n\u003cp>There’s something seductive and irresistible about the camera that triggers the impulse to perform, whether it’s strangers in the stands projected on a scoreboard or you, a pal and the ubiquitous smartphone. Amateurs are one (very annoying) thing, but what happens when you give a trained actor a camera during lockdown? If it’s the Gawdafful National Theater’s league of actor-provocateurs riffing on founder Asher Hartman’s texts, you get a gallery of funhouse lunatics practically reaching through the screen.\u003c/p>\n\u003cp>Hartman, a transgender writer, director, painter and practicing psychic based in L.A., was on his way to San Francisco from Portland last March to stage \u003cem>\u003ca href=\"https://www.thelab.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Dope Elf\u003c/a>\u003c/em>, a six-hour play commissioned by The Lab. The original plan, for the actors to live at the gallery in “artist-made sculptural sleeping stations,” was deep-sixed by the pandemic. So was the play, which Hartman reconceived as six films—of which the longest clocks in under 23 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13899349\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM.png\" alt=\"\" width=\"1500\" height=\"998\" class=\"size-full wp-image-13899349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM.png 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-768x511.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Wright and Adrian Cruz in ‘It Had All Happened Through This, This…?,’ 2021 from ‘The Dope Elf.’ \u003ccite>(Photo by Ian Byers-Gamber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Befitting an artistic director, Hartman penned a lengthy, fascinating essay to accompany the films that asserts the subversive necessity of theater and describes the themes of the work. Internalized white supremacy, buttressed with “an unwillingness to come emotionally clean,” is on Hartman’s mind, filtered through the devious tricksterism of elves.\u003c/p>\n\u003cp>With due respect for Hartman’s vision, the metaphor of forest creatures didn’t speak to me, but I was quite intrigued by the material’s leap from theater to film. The camera brings us so much closer to the performers (Jacqueline Wright, Jasmine Orpilla, Michael Bonnabel, Philip Littell, Zut Lorz, Paul Outlaw and Joe Seely) that the performances (frequently delivered alone) acquire the casualness, accessibility and immediacy of confessionals.\u003c/p>\n\u003cfigure id=\"attachment_13899347\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ScreenShot2021-06-11at3.00.00PM.png\" alt=\"\" width=\"750\" height=\"422\" class=\"size-full wp-image-13899347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at3.00.00PM.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at3.00.00PM-160x90.png 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Orpilla in ‘Balance,’ 2020, from ‘The Dope Elf.’ \u003ccite>(Photo by Ian Byers-Gamber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of the actors all but claw at the camera, taking the limits of the frame and, one infers, the pandemic’s curse of antisocialism, as a personal challenge. On those paradoxical occasions when ennui pervades a passage in one piece or another—one of last year’s lessons was that you could keep people out but the boredom of solitary confinement seeped in—it feels natural and expected. Indeed, Hartman’s willingness to include those moments in the finished films represents an embrace of the pandemic as well as the conditions that spawned this incarnation of \u003cem>The Dope Elf\u003c/em> (which debuted online June 14).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most satisfying, though, is the way these pieces use elements of moviemaking in order to work as films rather than monologues on video. Orpilla has a sly eye for composition, while Wright knowingly cycles through an array of female personae (including an archetype or two from Hollywood melodramas). Now that the claustrophobic depths are behind us, we can take in the pleasures of \u003cem>The Dope Elf\u003c/em> without feeling like we’re looking a mirror, and wincing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Dope Elf’ is available as six videos on The Lab’s website. \u003ca href=\"https://www.thelab.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one will confuse Zoom meetings with Hollywood auditions, but admit it: You were tempted at least once in the claustrophobic depths of 2020 to deliver your favorite movie speech (\u003cem>The Maltese Falcon\u003c/em>? \u003cem>Network\u003c/em>? \u003cem>Dead Poets Society\u003c/em>?) instead of the monthly sales figures from greater Fresno.\u003c/p>\n\u003cp>There’s something seductive and irresistible about the camera that triggers the impulse to perform, whether it’s strangers in the stands projected on a scoreboard or you, a pal and the ubiquitous smartphone. Amateurs are one (very annoying) thing, but what happens when you give a trained actor a camera during lockdown? If it’s the Gawdafful National Theater’s league of actor-provocateurs riffing on founder Asher Hartman’s texts, you get a gallery of funhouse lunatics practically reaching through the screen.\u003c/p>\n\u003cp>Hartman, a transgender writer, director, painter and practicing psychic based in L.A., was on his way to San Francisco from Portland last March to stage \u003cem>\u003ca href=\"https://www.thelab.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Dope Elf\u003c/a>\u003c/em>, a six-hour play commissioned by The Lab. The original plan, for the actors to live at the gallery in “artist-made sculptural sleeping stations,” was deep-sixed by the pandemic. So was the play, which Hartman reconceived as six films—of which the longest clocks in under 23 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13899349\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM.png\" alt=\"\" width=\"1500\" height=\"998\" class=\"size-full wp-image-13899349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM.png 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at2.51.54PM-768x511.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Wright and Adrian Cruz in ‘It Had All Happened Through This, This…?,’ 2021 from ‘The Dope Elf.’ \u003ccite>(Photo by Ian Byers-Gamber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Befitting an artistic director, Hartman penned a lengthy, fascinating essay to accompany the films that asserts the subversive necessity of theater and describes the themes of the work. Internalized white supremacy, buttressed with “an unwillingness to come emotionally clean,” is on Hartman’s mind, filtered through the devious tricksterism of elves.\u003c/p>\n\u003cp>With due respect for Hartman’s vision, the metaphor of forest creatures didn’t speak to me, but I was quite intrigued by the material’s leap from theater to film. The camera brings us so much closer to the performers (Jacqueline Wright, Jasmine Orpilla, Michael Bonnabel, Philip Littell, Zut Lorz, Paul Outlaw and Joe Seely) that the performances (frequently delivered alone) acquire the casualness, accessibility and immediacy of confessionals.\u003c/p>\n\u003cfigure id=\"attachment_13899347\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ScreenShot2021-06-11at3.00.00PM.png\" alt=\"\" width=\"750\" height=\"422\" class=\"size-full wp-image-13899347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at3.00.00PM.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ScreenShot2021-06-11at3.00.00PM-160x90.png 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Orpilla in ‘Balance,’ 2020, from ‘The Dope Elf.’ \u003ccite>(Photo by Ian Byers-Gamber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of the actors all but claw at the camera, taking the limits of the frame and, one infers, the pandemic’s curse of antisocialism, as a personal challenge. On those paradoxical occasions when ennui pervades a passage in one piece or another—one of last year’s lessons was that you could keep people out but the boredom of solitary confinement seeped in—it feels natural and expected. Indeed, Hartman’s willingness to include those moments in the finished films represents an embrace of the pandemic as well as the conditions that spawned this incarnation of \u003cem>The Dope Elf\u003c/em> (which debuted online June 14).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most satisfying, though, is the way these pieces use elements of moviemaking in order to work as films rather than monologues on video. Orpilla has a sly eye for composition, while Wright knowingly cycles through an array of female personae (including an archetype or two from Hollywood melodramas). Now that the claustrophobic depths are behind us, we can take in the pleasures of \u003cem>The Dope Elf\u003c/em> without feeling like we’re looking a mirror, and wincing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Dope Elf’ is available as six videos on The Lab’s website. \u003ca href=\"https://www.thelab.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>By curious coincidence, two of the lovelier movies I’ve seen so far this summer—the family-friendly animated fable \u003cem>Luca\u003c/em> and the German art-house fairy tale \u003cem>Undine\u003c/em>—tell stories about mythic sea creatures making contact with the human world. That’s hardly a new concept, as we’ve seen in films as different as \u003ca href=\"https://www.npr.org/2017/12/07/567524649/the-shape-of-water-an-elegant-fable-of-starfish-crossed-lubbers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Shape of Water\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2018/12/18/677339581/aquaman-from-super-friend-to-surfer-dude-the-bro-ification-of-a-hero\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Aquaman\u003c/em> \u003c/a>and countless versions of \u003ca href=\"https://www.npr.org/2019/07/09/739950750/disney-cable-channel-defends-casting-black-actress-as-new-little-mermaid\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Little Mermaid\u003c/em>\u003c/a>. But as \u003cem>Luca \u003c/em>and \u003cem>Undine\u003c/em> demonstrate, there are still fresh stories to be dredged up from these watery depths.\u003c/p>\n\u003cp>Arriving on Disney+ several months after the Oscar-winning afterlife comedy \u003ca href=\"https://www.npr.org/2021/03/23/980275234/soul-creators-on-passion-purpose-and-realizing-youre-enough\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soul\u003c/em>\u003c/a>, \u003cem>Luca \u003c/em>is a lighter, mellower brand of Pixar confection. It also happens to be a better, more smartly realized movie. It takes place in and around a small Italian Riviera town whose residents live in fear of the sea monsters rumored to dwell in the surrounding waters.\u003c/p>\n\u003cp>One of these fantastical creatures is Luca, a sweet young boy with blue fins, green scales and a long tail, who lives in an underwater grotto with his overprotective parents. (He’s voiced by Jacob Tremblay, the lead in a strong cast that also includes \u003ca href=\"https://www.npr.org/2012/03/08/148157572/maya-rudolph-the-fresh-air-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Rudolph\u003c/a> and Jim Gaffigan.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mYfJxlgR2jw\u003c/p>\n\u003cp>Like the Little Mermaid herself, Luca becomes fascinated by the world above the ocean’s surface. One day, he ventures ashore and finds that, after drying himself off, he takes on human form. But he has to be careful never to get wet or he’ll be exposed as a sea creature—a supernatural conceit that sets up a lot of the gags in this literal fish-out-of-water farce.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Luca’s guide to the human world is another boy/undercover sea creature named Alberto. In one scene, Alberto shows Luca his home in a stone tower and teaches him about gravity and other forces he’ll have to face on the surface. Eventually Luca and Alberto make their way into town, which is gorgeously designed in a way we’ve come to expect from Pixar: The director Enrico Casarosa, working from a script by Jesse Andrews and Mike Jones, composes an exquisite visual love letter to Italy’s cobblestoned streets and scenic piazzas.\u003c/p>\n\u003cp>Luca and Alberto befriend an outgoing young girl named Giulia and enter a local triathlon where one of the events is—what else?—a pasta-eating contest. But in embracing their new life on dry land, they also run the risk of being exposed and even harmed by the townsfolk, with their superstitious fear of sea monsters.\u003c/p>\n\u003cp>[aside postid='arts_13894433']When the trailer for \u003cem>Luca\u003c/em> was released weeks ago, its images of two boys running around a lush Italian paradise led more than a few to wonder, half-jokingly, if Pixar had made its own version of the gay love story \u003ca href=\"https://www.npr.org/2017/11/22/564883557/call-me-by-your-name-love-their-way\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Call Me by Your Name\u003c/em>\u003c/a>. While there’s no romance in \u003cem>Luca\u003c/em>, the subtext is hard to miss: After all, Luca and Alberto are struggling to conceal their true identities in a society that shuns what it doesn’t understand. Theirs is a charming story about friendship, adventure and learning to live without fear.\u003c/p>\n\u003cp>The title character in the melancholy drama \u003cem>Undine \u003c/em>is also a water sprite who takes on human form, though any similarities between the two movies pretty much end there. An Undine, or Ondine is a famous nymph from European mythology, though the German writer-director Christian Petzold puts his own spin on the legend.\u003c/p>\n\u003cp>This Undine, played by Paula Beer, lives in present-day Berlin and works as a city historian. You wouldn’t guess that there’s anything supernatural about her, or that she’s bound by a single rule: If a human lover betrays her, she must take his life. We see her preparing to do just that early on, when her latest boyfriend, Johannes, tells her he’s leaving her for another woman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HD0ABeBzx3U\u003c/p>\n\u003cp>Petzold takes a somber, realistic approach to this outlandish premise; there are no obvious visual effects, and Undine’s mythological origins are never spelled out. But the story unfolds with such sly matter-of-factness that I soon found myself immersed in it. Before she has time to deal with Johannes, Undine is swept off her feet by another man, Christoph, and the two plunge headlong into a love affair that consumes them both—and, like most of Undine’s love affairs, is not fated to end happily.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='pop_97638']Christoph is played by Franz Rogowski, who appeared together with Beer in Petzold’s previous film, \u003ca href=\"https://www.npr.org/2019/02/28/698646232/in-transit-a-man-fleeing-fascists-gets-caught-in-a-web-of-mistaken-identity\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Transit\u003c/em>\u003c/a>. The actors are captivating to watch, and their reunion here adds to the movie’s faintly otherworldly feel. Petzold likes to use genre to illuminate different chapters of German history, and \u003cem>Undine\u003c/em> is no exception. His filmmaking is so elegant and concise that you may not realize he’s slipping in a lesson on the history of Berlin itself—a history of war, devastation and reconstruction to which Undine has long borne witness. She’s a truly timeless heroine in a movie that I’ve seen multiple times now and which becomes more mysterious—and magical—with each revisit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=Dive+Into+%27Luca%27+And+%27Undine%2C%27+2+Under-The-Sea+Films+To+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By curious coincidence, two of the lovelier movies I’ve seen so far this summer—the family-friendly animated fable \u003cem>Luca\u003c/em> and the German art-house fairy tale \u003cem>Undine\u003c/em>—tell stories about mythic sea creatures making contact with the human world. That’s hardly a new concept, as we’ve seen in films as different as \u003ca href=\"https://www.npr.org/2017/12/07/567524649/the-shape-of-water-an-elegant-fable-of-starfish-crossed-lubbers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Shape of Water\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2018/12/18/677339581/aquaman-from-super-friend-to-surfer-dude-the-bro-ification-of-a-hero\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Aquaman\u003c/em> \u003c/a>and countless versions of \u003ca href=\"https://www.npr.org/2019/07/09/739950750/disney-cable-channel-defends-casting-black-actress-as-new-little-mermaid\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Little Mermaid\u003c/em>\u003c/a>. But as \u003cem>Luca \u003c/em>and \u003cem>Undine\u003c/em> demonstrate, there are still fresh stories to be dredged up from these watery depths.\u003c/p>\n\u003cp>Arriving on Disney+ several months after the Oscar-winning afterlife comedy \u003ca href=\"https://www.npr.org/2021/03/23/980275234/soul-creators-on-passion-purpose-and-realizing-youre-enough\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soul\u003c/em>\u003c/a>, \u003cem>Luca \u003c/em>is a lighter, mellower brand of Pixar confection. It also happens to be a better, more smartly realized movie. It takes place in and around a small Italian Riviera town whose residents live in fear of the sea monsters rumored to dwell in the surrounding waters.\u003c/p>\n\u003cp>One of these fantastical creatures is Luca, a sweet young boy with blue fins, green scales and a long tail, who lives in an underwater grotto with his overprotective parents. (He’s voiced by Jacob Tremblay, the lead in a strong cast that also includes \u003ca href=\"https://www.npr.org/2012/03/08/148157572/maya-rudolph-the-fresh-air-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Rudolph\u003c/a> and Jim Gaffigan.)\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/mYfJxlgR2jw'\n title='//www.youtube.com/embed/mYfJxlgR2jw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like the Little Mermaid herself, Luca becomes fascinated by the world above the ocean’s surface. One day, he ventures ashore and finds that, after drying himself off, he takes on human form. But he has to be careful never to get wet or he’ll be exposed as a sea creature—a supernatural conceit that sets up a lot of the gags in this literal fish-out-of-water farce.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Luca’s guide to the human world is another boy/undercover sea creature named Alberto. In one scene, Alberto shows Luca his home in a stone tower and teaches him about gravity and other forces he’ll have to face on the surface. Eventually Luca and Alberto make their way into town, which is gorgeously designed in a way we’ve come to expect from Pixar: The director Enrico Casarosa, working from a script by Jesse Andrews and Mike Jones, composes an exquisite visual love letter to Italy’s cobblestoned streets and scenic piazzas.\u003c/p>\n\u003cp>Luca and Alberto befriend an outgoing young girl named Giulia and enter a local triathlon where one of the events is—what else?—a pasta-eating contest. But in embracing their new life on dry land, they also run the risk of being exposed and even harmed by the townsfolk, with their superstitious fear of sea monsters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When the trailer for \u003cem>Luca\u003c/em> was released weeks ago, its images of two boys running around a lush Italian paradise led more than a few to wonder, half-jokingly, if Pixar had made its own version of the gay love story \u003ca href=\"https://www.npr.org/2017/11/22/564883557/call-me-by-your-name-love-their-way\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Call Me by Your Name\u003c/em>\u003c/a>. While there’s no romance in \u003cem>Luca\u003c/em>, the subtext is hard to miss: After all, Luca and Alberto are struggling to conceal their true identities in a society that shuns what it doesn’t understand. Theirs is a charming story about friendship, adventure and learning to live without fear.\u003c/p>\n\u003cp>The title character in the melancholy drama \u003cem>Undine \u003c/em>is also a water sprite who takes on human form, though any similarities between the two movies pretty much end there. An Undine, or Ondine is a famous nymph from European mythology, though the German writer-director Christian Petzold puts his own spin on the legend.\u003c/p>\n\u003cp>This Undine, played by Paula Beer, lives in present-day Berlin and works as a city historian. You wouldn’t guess that there’s anything supernatural about her, or that she’s bound by a single rule: If a human lover betrays her, she must take his life. We see her preparing to do just that early on, when her latest boyfriend, Johannes, tells her he’s leaving her for another woman.\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/HD0ABeBzx3U'\n title='//www.youtube.com/embed/HD0ABeBzx3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Petzold takes a somber, realistic approach to this outlandish premise; there are no obvious visual effects, and Undine’s mythological origins are never spelled out. But the story unfolds with such sly matter-of-factness that I soon found myself immersed in it. Before she has time to deal with Johannes, Undine is swept off her feet by another man, Christoph, and the two plunge headlong into a love affair that consumes them both—and, like most of Undine’s love affairs, is not fated to end happily.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Christoph is played by Franz Rogowski, who appeared together with Beer in Petzold’s previous film, \u003ca href=\"https://www.npr.org/2019/02/28/698646232/in-transit-a-man-fleeing-fascists-gets-caught-in-a-web-of-mistaken-identity\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Transit\u003c/em>\u003c/a>. The actors are captivating to watch, and their reunion here adds to the movie’s faintly otherworldly feel. Petzold likes to use genre to illuminate different chapters of German history, and \u003cem>Undine\u003c/em> is no exception. His filmmaking is so elegant and concise that you may not realize he’s slipping in a lesson on the history of Berlin itself—a history of war, devastation and reconstruction to which Undine has long borne witness. She’s a truly timeless heroine in a movie that I’ve seen multiple times now and which becomes more mysterious—and magical—with each revisit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=Dive+Into+%27Luca%27+And+%27Undine%2C%27+2+Under-The-Sea+Films+To+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a \u003ca href=\"https://twitter.com/Lin_Manuel/status/1404565413116141570?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a> post, \u003cem>In The Heights\u003c/em> co-creator Lin-Manuel Miranda publicly addressed criticisms of the film’s casting that noted only light-skinned actors had roles as the musical’s main Latinx characters.\u003c/p>\n\u003cp>Miranda apologized, writing Monday evening: “I hear that, without sufficient dark-skinned Afro-Latino representation, the world feels extractive of the community we wanted so much to represent with pride and joy. In trying to paint a mosaic of this community, we fell short. I’m truly sorry.”\u003c/p>\n\u003cp>[aside postid='arts_13882671']The film version of the hit Broadway musical, which is set in New York City’s Washington Heights neighborhood, only includes Afro-Latinx performers in background and dance roles. (One main character, Benny, is Black and played by the non-Latinx actor Corey Hawkins.) Critics of the movie \u003ca href=\"https://twitter.com/bad_dominicana/status/1403104020818972674?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">have remarked\u003c/a> that the real-life Washington Heights is heavily Afro-Latinx.\u003c/p>\n\u003cp>Miranda, who wrote the music and lyrics for the musical with the book by Quiara Alegría Hudes, said on Twitter: “I started writing \u003cem>In\u003c/em> \u003cem>The Heights\u003c/em> because I didn’t feel seen. And over the past 20 years all I wanted was for us—ALL of us—to feel seen. I’m seeing the discussion around Afro-Latino representation in our film this weekend, and it is clear that many in our dark-skinned Afro-Latino community don’t feel sufficiently represented within it, particularly among the leading roles. I can hear the hurt and frustration over colorism, of feeling unseen in the feedback.”\u003c/p>\n\u003cp>Miranda continued, “I’m learning from the feedback, I thank you for raising it, and I’m listening. I’m trying to hold space for both the incredible pride in the movie we made and be accountable for our shortcomings. Thank you for your honest feedback. I promise to do better in my future projects, and I’m dedicated to the learning and evolving we all have to do to make sure we are honoring our diverse and vibrant community. Siempre, LMM.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Lin_Manuel/status/1404565413116141570\u003c/p>\n\u003cp>For \u003cem>\u003ca href=\"https://www.theroot.com/lets-talk-about-in-the-heights-and-the-erasure-of-dark-1847064126\" target=\"_blank\" rel=\"noopener noreferrer\">The Root\u003c/a>\u003c/em>, writer Felice León, who is of Afro-Cuban heritage, interviewed the film’s director, Jon M. Chu, as well as actors Hawkins, Leslie Grace and Melissa Barrera. León asked about the lack of Black Latinx performers in the film’s main roles.\u003c/p>\n\u003cp>[aside postid='arts_13898635']“It’s definitely something we talked about,” Chu said, “and I needed to be educated about [it], of course. In the end, when we were looking at the cast, we tried to get the people who were best for those roles specifically. … I think it’s a really good conversation to have, it’s something we all should be talking about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>León wrote that she had requested an interview with Miranda, but was not approved.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lin-Manuel+Miranda+Apologizes+For+Lack+Of+Afro-Latinx+Actors+In+%27In+The+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film version of the hit Broadway musical, which is set in New York City’s Washington Heights neighborhood, only includes Afro-Latinx performers in background and dance roles. (One main character, Benny, is Black and played by the non-Latinx actor Corey Hawkins.) Critics of the movie \u003ca href=\"https://twitter.com/bad_dominicana/status/1403104020818972674?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">have remarked\u003c/a> that the real-life Washington Heights is heavily Afro-Latinx.\u003c/p>\n\u003cp>Miranda, who wrote the music and lyrics for the musical with the book by Quiara Alegría Hudes, said on Twitter: “I started writing \u003cem>In\u003c/em> \u003cem>The Heights\u003c/em> because I didn’t feel seen. And over the past 20 years all I wanted was for us—ALL of us—to feel seen. I’m seeing the discussion around Afro-Latino representation in our film this weekend, and it is clear that many in our dark-skinned Afro-Latino community don’t feel sufficiently represented within it, particularly among the leading roles. I can hear the hurt and frustration over colorism, of feeling unseen in the feedback.”\u003c/p>\n\u003cp>Miranda continued, “I’m learning from the feedback, I thank you for raising it, and I’m listening. I’m trying to hold space for both the incredible pride in the movie we made and be accountable for our shortcomings. Thank you for your honest feedback. I promise to do better in my future projects, and I’m dedicated to the learning and evolving we all have to do to make sure we are honoring our diverse and vibrant community. Siempre, LMM.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s definitely something we talked about,” Chu said, “and I needed to be educated about [it], of course. In the end, when we were looking at the cast, we tried to get the people who were best for those roles specifically. … I think it’s a really good conversation to have, it’s something we all should be talking about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>León wrote that she had requested an interview with Miranda, but was not approved.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lin-Manuel+Miranda+Apologizes+For+Lack+Of+Afro-Latinx+Actors+In+%27In+The+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Just 10% of Popular Movies Had a Muslim Character. Riz Ahmed Wants to Change That | KQED",
"content": "\u003cp>Muslims are very rarely depicted in movies, and when they are, it’s usually as a stereotypical terrorist, \u003ca href=\"https://variety.com/2021/film/news/riz-ahmed-muslim-study-usc-annenberg-inclusion-initiative-pillars-fund-1234993247/\" target=\"_blank\" rel=\"noopener noreferrer\">what Oscar nominated actor Riz Ahmed calls a “dangerous trope.”\u003c/a> Having spoken out about this issue for several years, he’s been looking for hard data. Now’s he got it. This week, The University of Southern California’s Annenberg Inclusion Initiative came out with the report he asked for. It’s titled \u003ca href=\"https://assets.uscannenberg.org/docs/aii-muslim-rep-global-film-2021-06-09.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing and Maligned: The Reality of Muslims in Popular Global Movies.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>USC’s researchers combed through 200 popular films from the U.S., the U.K., Australia and New Zealand from 2017 to 2019. They found that only six of them had a Muslim in a co-leading role, and only one of those was female. Of the nearly 9,000 speaking parts, fewer than two percent were Muslim. And there were none in animated movies.\u003c/p>\n\u003cp>“Being confronted with the hard stats themselves was in a way shocking to see how bad it was,” Ahmed told NPR. “Just the extent of Muslim erasure, the extent in particular of erasure of Black Muslims, and Muslim women, it was really shocking.”\u003c/p>\n\u003cp>[aside postid='arts_13880993']The report pointed to several examples, including the film \u003cem>Hotel Mumbai\u003c/em>, which featured Muslims as terrorists. Movies such as \u003cem>Aladdin\u003c/em> depicted Muslim characters only in the past. Other films portrayed Muslims as outsiders or subservient to white characters. In 2017’s \u003cem>Wonder Woman\u003c/em>, the character Sameer had to play up a stereotype. He later complains about his limited opportunities. “Not everyone gets to be what they want to be all the time,” he says to the superhero. “Me? I am an actor. I love acting.”\u003c/p>\n\u003cp>Ahmed and the Inclusion Initiative also worked on the study with The Pillars Fund, a foundation for Muslims in the U.S. The group’s cofounder and president, Kashif Shaikh says that while the Muslim community is racially and ethnically diverse, it’s rarely shown that way in movies. He said Hollywood has created and reinforced dangerous portrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you are constantly depicting Muslims as terrorists, there are consequences to that,” says Shaikh. “It’s easy … to now dehumanize us.”\u003c/p>\n\u003cp>Shaikh says his group is not necessarily calling for only positive portrayals, but he advocates for more Muslim roles with nuance. That includes more LGBTQ roles, or those with disabilities, like Riz Ahmed’s character in the 2019 film \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>In a video announcing the USC study, Ahmed said he was one of only a handful of Muslim actors who get to play Hollywood roles that are “either non-Muslim or unremarkably Muslim.”\u003c/p>\n\u003cp>“I ask myself if I’m the exception to the rule, what must the rule be about people like me? What must the unwritten rule be about Muslims, a quarter of the world’s population and their place in our stories, our culture and their place in our society, if any?”\u003c/p>\n\u003cp>Ahmed recalled having been interrogated at an airport after he appeared in the film \u003cem>The Road to Guantanamo\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13844505']“I recoiled when that MI5 agent said ‘did you become an actor to further the Muslim struggle?,'” he recalls, saying he’d much rather be acting than be a poster boy for this issue. But he says he realized later he had to speak up.\u003c/p>\n\u003cp>“Maybe I did become an actor to be seen and portrayed with empathy and dignity, to be seen as fully human as much as any other character.”\u003c/p>\n\u003cp>The report includes a “blueprint” for Muslim inclusion: solutions for film studios, film schools, and philanthropies. The Pillars Fund is awarding a new fellowship for Muslim artists. Ahmed is also teaming with Mahershala Ali, Ramy Youssef, Sana Amanat, Karim Amer, Rosa Attab, Nida Manzoor and Jehane Noujaim. They’re challenging film companies to secure deals with Muslim creators and to “sunset” the old tropes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the web by Rose Friedman and Mandalit del Barco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Just+10%25+Of+Popular+Movies+Had+A+Muslim+Character.+Riz+Ahmed+Wants+To+Change+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Muslims are very rarely depicted in movies, and when they are, it’s usually as a stereotypical terrorist, \u003ca href=\"https://variety.com/2021/film/news/riz-ahmed-muslim-study-usc-annenberg-inclusion-initiative-pillars-fund-1234993247/\" target=\"_blank\" rel=\"noopener noreferrer\">what Oscar nominated actor Riz Ahmed calls a “dangerous trope.”\u003c/a> Having spoken out about this issue for several years, he’s been looking for hard data. Now’s he got it. This week, The University of Southern California’s Annenberg Inclusion Initiative came out with the report he asked for. It’s titled \u003ca href=\"https://assets.uscannenberg.org/docs/aii-muslim-rep-global-film-2021-06-09.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing and Maligned: The Reality of Muslims in Popular Global Movies.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>USC’s researchers combed through 200 popular films from the U.S., the U.K., Australia and New Zealand from 2017 to 2019. They found that only six of them had a Muslim in a co-leading role, and only one of those was female. Of the nearly 9,000 speaking parts, fewer than two percent were Muslim. And there were none in animated movies.\u003c/p>\n\u003cp>“Being confronted with the hard stats themselves was in a way shocking to see how bad it was,” Ahmed told NPR. “Just the extent of Muslim erasure, the extent in particular of erasure of Black Muslims, and Muslim women, it was really shocking.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The report pointed to several examples, including the film \u003cem>Hotel Mumbai\u003c/em>, which featured Muslims as terrorists. Movies such as \u003cem>Aladdin\u003c/em> depicted Muslim characters only in the past. Other films portrayed Muslims as outsiders or subservient to white characters. In 2017’s \u003cem>Wonder Woman\u003c/em>, the character Sameer had to play up a stereotype. He later complains about his limited opportunities. “Not everyone gets to be what they want to be all the time,” he says to the superhero. “Me? I am an actor. I love acting.”\u003c/p>\n\u003cp>Ahmed and the Inclusion Initiative also worked on the study with The Pillars Fund, a foundation for Muslims in the U.S. The group’s cofounder and president, Kashif Shaikh says that while the Muslim community is racially and ethnically diverse, it’s rarely shown that way in movies. He said Hollywood has created and reinforced dangerous portrayals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you are constantly depicting Muslims as terrorists, there are consequences to that,” says Shaikh. “It’s easy … to now dehumanize us.”\u003c/p>\n\u003cp>Shaikh says his group is not necessarily calling for only positive portrayals, but he advocates for more Muslim roles with nuance. That includes more LGBTQ roles, or those with disabilities, like Riz Ahmed’s character in the 2019 film \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>In a video announcing the USC study, Ahmed said he was one of only a handful of Muslim actors who get to play Hollywood roles that are “either non-Muslim or unremarkably Muslim.”\u003c/p>\n\u003cp>“I ask myself if I’m the exception to the rule, what must the rule be about people like me? What must the unwritten rule be about Muslims, a quarter of the world’s population and their place in our stories, our culture and their place in our society, if any?”\u003c/p>\n\u003cp>Ahmed recalled having been interrogated at an airport after he appeared in the film \u003cem>The Road to Guantanamo\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I recoiled when that MI5 agent said ‘did you become an actor to further the Muslim struggle?,'” he recalls, saying he’d much rather be acting than be a poster boy for this issue. But he says he realized later he had to speak up.\u003c/p>\n\u003cp>“Maybe I did become an actor to be seen and portrayed with empathy and dignity, to be seen as fully human as much as any other character.”\u003c/p>\n\u003cp>The report includes a “blueprint” for Muslim inclusion: solutions for film studios, film schools, and philanthropies. The Pillars Fund is awarding a new fellowship for Muslim artists. Ahmed is also teaming with Mahershala Ali, Ramy Youssef, Sana Amanat, Karim Amer, Rosa Attab, Nida Manzoor and Jehane Noujaim. They’re challenging film companies to secure deals with Muslim creators and to “sunset” the old tropes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the web by Rose Friedman and Mandalit del Barco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Just+10%25+Of+Popular+Movies+Had+A+Muslim+Character.+Riz+Ahmed+Wants+To+Change+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Skateboarding Gives Freedom to Rural Indian Teen in Netflix Film—and in Real Life",
"headTitle": "Skateboarding Gives Freedom to Rural Indian Teen in Netflix Film—and in Real Life | KQED",
"content": "\u003cp>When Asha Gond first started skateboarding, neighbors in her village of Janwar in central India were aghast. They urged the teenager’s parents to keep her busy with housework or get her married. When she walked through the village, skateboard in hand, they would sneer at her and make disparaging comments. Skateboarding is for boys, Gond, now 21, recalls the villagers saying.\u003c/p>\n\u003cp>Skateboarding isn’t common in Indian cities, let alone remote rural areas like where Gond lives. The skatepark in her village was built by a German social activist. It ignited in her a life-altering passion for skateboarding—a passion Gond has pursued despite the rigid patriarchal norms in her village and one that has taken her to championships overseas.\u003c/p>\n\u003cp>It’s an incredible story of how one skatepark can change a girl’s—and really an entire community’s—life.\u003c/p>\n\u003cp>It also happens to be the plot of a new Netflix movie called \u003ca href=\"https://www.youtube.com/watch?v=k5Fn99wmFCQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skater Girl\u003c/em>\u003c/a> releasing June 11. The movie chronicles the journey of a rural Indian teenage girl who discovers a life-changing passion for skateboarding after a Westerner builds a skatepark in her village but faces obstacles when she tries to chase her dream of competing.\u003c/p>\n\u003cp>The filmmakers say it’s a fictionalized account of stories of skateboarding girls in India. But Gond says it’s her story and that the filmmakers never got her permission—even though they met her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The things that they’ve shown in the trailer have actually happened to me,” she told NPR in a phone interview.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k5Fn99wmFCQ\u003c/p>\n\u003cp>\u003cstrong>Why A Rural Village Got A Skatepark\u003c/strong>\u003c/p>\n\u003cp>Janwar is a tiny village of about 1,200 located at the edge of a tiger reserve in the state of Madhya Pradesh. Tribal communities called Adivasis make up about \u003ca href=\"https://urldefense.com/v3/__https:/censusindia.gov.in/2011census/dchb/2309_PART_B_DCHB_PANNA.pdf__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-4EhXZs%24\" target=\"_blank\" rel=\"noopener noreferrer\">half\u003c/a> of its population. India’s ancient caste system relegates Adivasis to the bottom of the social hierarchy and they typically live segregated from the rest of the community. When Gond was growing up, Adivasi children like her weren’t allowed to mix or play with their higher caste peers. Girls tended to marry early and the literacy rate was extremely low—especially among women.\u003c/p>\n\u003cp>Then came the skatepark, built by \u003ca href=\"https://www.ulrikereinhard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ulrike Reinhard\u003c/a>, a German business consultant and activist. Reinhard has been mostly living in India since 2012 and much of her work focuses on empowering youth in rural areas. She had been toying with the idea of building a school in rural India. But inspired by \u003ca href=\"https://urldefense.com/v3/__https:/www.skateistan.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U0HWm-GM%24\" target=\"_blank\" rel=\"noopener noreferrer\">Skateistan\u003c/a>, an international nonprofit organization that promotes education and gender equality through skateboarding, Reinhard decided to build a skatepark in Janwar.\u003c/p>\n\u003cp>“It was an experiment,” Reinhard says. “I thought, can a skatepark trigger change in such a stiff and old-traditioned community?”\u003c/p>\n\u003cp>To raise money for the project, Reinhard reached out to artists across the world to convert skateboards into artboards which she then auctioned.\u003c/p>\n\u003cp>[aside postid='news_11733418']When she had the funding, she encouraged skating enthusiasts from around the world to come to Janwar to help build the park. About a dozen came and constructed the skatepark with assistance from laborers in the village. The skatepark opened in 2015.\u003c/p>\n\u003cp>The end result was something most of the people in the village had never seen—or even heard of. Gond said her initial reaction was that it “looked very weird.” Some people thought it was a swimming pool, Reinhard says.\u003c/p>\n\u003cp>The kids came around quickly and thought the skatepark was cool, says Reinhard. But some adults were skeptical of Reinhard’s intentions and started spreading rumors that she was involved in human trafficking.\u003c/p>\n\u003cp>Gond’s mother was scared for her. “People would say [Reinhard] is going to sell your daughter and you won’t be able to see her again ever,” says Kamala Gond, who has since come around to support the project.\u003c/p>\n\u003cp>The German nonprofit \u003ca href=\"https://www.skate-aid.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Skate-aid\u003c/a> provided the first batch of 20 skateboards. Reinhard doesn’t know how to skateboard so she showed the kids YouTube videos on a tablet to get them started.\u003c/p>\n\u003cp>In the beginning, it was difficult to maintain balance, Gond says.”The skateboard would go ahead when I stepped on it. I thought I would fall over and smash my face.”\u003c/p>\n\u003cp>But once she got the hang of it, it was all Gond could think of. “I would lie in bed at night and think about how to maneuver the skateboard to do a particular trick,” she says.\u003c/p>\n\u003cp>\u003cstrong>Girls Get Priority. And Leave Your Caste At the Door\u003c/strong>\u003c/p>\n\u003cp>The skatepark is free and open to all the children in the village, irrespective of caste. Encouraging Adivasi children and Yadav kids (a higher caste) to skate together is blurring caste divisions in the community, Gond says.\u003c/p>\n\u003cp>While members of higher castes don’t get special treatment, girls do. One of the skatepark’s rules is “Girls first”—meaning if there are no skateboards free, a girl can ask a skateboarding boy to give his skateboard to her and he has to agree.\u003c/p>\n\u003cp>[aside postid='pop_85006']“The girls’ destiny is sealed the day they are born,” says Reinhard, adding that they are typically put to work at a young age and married off early. “So this was a way to tackle the gender [inequality] issue without naming it explicitly.”\u003c/p>\n\u003cp>Not everyone was happy to see girls skateboarding, much less Adivasi girls like Gond. Villagers would gossip that Gond would be better off learning to cook instead of skateboarding.\u003c/p>\n\u003cp>“They used to say to my parents, ‘What is she going to do after she goes to her husband’s home?'” says Gond.\u003c/p>\n\u003cp>Some mornings, Gond recalls, she arrived at the skatepark to threatening messages written on the concrete. “They said they would burn me if I did skateboarding.”\u003c/p>\n\u003cfigure id=\"attachment_13898796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg\" alt=\"Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off. \u003ccite>(Vicky Roy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Gond continued to skate and quickly became a rising star in Janwar. Over the years, she’s traveled across India to participate in skateboarding contests. In 2018, she represented India in the World Skateboarding Championship in Nanjing, China. She came in nearly last, but she was the only Indian in the women’s games, competing against many who came from countries with long traditions of skateboarding.\u003c/p>\n\u003cp>Gond is also co-founder and director of the nonprofit organization Barefoot Skateboarders, which focuses on the education and development of the children in Janwar.\u003c/p>\n\u003cp>Her mother says she’s proud of her.\u003c/p>\n\u003cp>“I feel wonderful, I had never imagined that my daughter could do this or achieve what she has achieved,” says Kamala Gond, who says she regrets that she never had the opportunity to go to school and was married when she was a young teen. “What I couldn’t do, my daughter is doing.”\u003c/p>\n\u003cp>\u003cstrong>‘No School. No Skateboarding’\u003c/strong>\u003c/p>\n\u003cp>The second rule at the skatepark is, “No school. No skateboarding.” When the kids skip school or are kept home by their parents, they aren’t allowed to skateboard. And to make school a better experience, Reinhard partnered with \u003ca href=\"https://urldefense.com/v3/__https:/prakriti.edu.in/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-jK3Wug%24\" target=\"_blank\" rel=\"noopener noreferrer\">Prakriti School\u003c/a>, an organization that focuses on innovative learning, to organize workshops for teachers in Janwar to improve their teaching skills. As a result, school attendance has gone up considerably, Reinhard says.\u003c/p>\n\u003cp>[aside postid='arts_13891248']“We really have created an eagerness to learn,” Reinhard says, adding that they’ve built a second skatepark and a community center that Gond manages where kids can take part in a variety of activities, including painting and karate. “We have a computer lab and the kids are sitting in front of computer screens learning Hindi poems or math.”\u003c/p>\n\u003cp>Reinhard says skateboarding is the oil that keeps the whole machine running. It’s a model that’s been successful in many countries. The nonprofit Skateistan now runs programs in Afghanistan, Cambodia and South Africa. Skate After School, an \u003ca href=\"https://urldefense.com/v3/__https:/www.skateafterschool.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U8BlZH3T%24\" target=\"_blank\" rel=\"noopener noreferrer\">Arizona-based nonprofit\u003c/a>, teaches skateboarding to nurture children from underserved communities.\u003c/p>\n\u003cp>How does it work? Sports as a means of social change is powerful, says \u003ca href=\"https://urldefense.com/v3/__https:/malala.org/champions/jyotsna-jha__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UzBEPwlp%24\" target=\"_blank\" rel=\"noopener noreferrer\">Jyotsna Jha\u003c/a>, director of the Indian think tank Center for Budget and Policy Studies. “Especially something like skating, which is novel and thrilling, can really create a sense of achievement among children that they had perhaps never experienced otherwise,” she said via email.\u003c/p>\n\u003cp>Sports has always been a gendered act, she says. “But when a sport is introduced for girls that is not traditionally associated with girls, it helps in breaking many stereotypes and also generating new ways of thinking,” Jha says.\u003c/p>\n\u003cfigure id=\"attachment_13898797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg\" alt=\"Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village. \u003ccite>(Aslam Saiyad/Barefoot Skateboarders Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>An Inspiring Movie And A Controversy\u003c/strong>\u003c/p>\n\u003cp>The impact that skateboarding is creating in different communities is what director Manjari Makijany says inspired her movie \u003cem>Skater Girl\u003c/em>. But after watching the trailer, some people on social media familiar with Reinhard’s work and Gond’s story assumed the movie was about Gond and the skatepark in Janwar. But Gond says the filmmakers never got permission to tell her story.\u003c/p>\n\u003cp>“Why don’t you ask me that you are going to tell my story?” Gond \u003ca href=\"https://urldefense.com/v3/__https:/www.facebook.com/NetflixFamily/posts/1182671495505173?comment_id=163450362388313__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U2jrrCCu%24\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> in a comment to a Netflix post sharing the trailer.\u003c/p>\n\u003cp>In an email to NPR, Makijany denied that the movie was about Gond.\u003c/p>\n\u003cp>“\u003cem>Skater Girl\u003c/em> is not a biopic based on anyone’s life story nor is it a documentary,” Makijany says. “It is not [Gond or Reinhard’s] story.”\u003c/p>\n\u003cp>In the movie, as in Janwar, the rule is “No school, No skateboarding” and it’s a Westerner—like Reinhard—who introduces the village to skateboarding and builds a skatepark.\u003c/p>\n\u003cp>Gond says the filmmakers met with her in Janwar and spoke to her about how skateboarding had changed her life and transformed her village. The director says Gond was just one of many girls they met during the making of the movie. The movie was also not shot in Janwar but in a village in Rajasthan state.\u003c/p>\n\u003cp>Reinhard had a contract to be a research consultant on the movie but says she quit early because of differences over the storytelling approach.\u003c/p>\n\u003cp>“It turned out to be this kitschy, cheesy kind of thing,” she says.\u003c/p>\n\u003cp>Reinhard also says from an ethical point of view, the filmmakers should have made a contract with Gond and the other children.\u003c/p>\n\u003cp>[aside postid='arts_13898211']Reinhard’s name and the Janwar skatepark appear in the end credits of the movie, along with the names of other skateboarders in India and around the world. The director says Gond and the other Janwar children were given a chance to be a part of the movie’s climax scene, but they declined.\u003c/p>\n\u003cp>“We said if this is our story we want to be seen and tell our story. We don’t want to be only in the background of the last scene,” Gond says.\u003c/p>\n\u003cp>Despite her misgivings, Reinhard says overall, the movie will benefit Janwar and raise awareness about their work and about skateboarding. A new \u003ca href=\"https://urldefense.com/v3/__https:/www.desertdolphinskatepark.com/about__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UysxWPbE%24\" target=\"_blank\" rel=\"noopener noreferrer\">skatepark\u003c/a> was built in Khempur village where the movie was shot and is now being used by the community there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As for Gond, she says she is curious to see the full movie. All she has to do now is get a Netflix account, a luxury most people in her village do not have.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Skateboarding+Gives+Freedom+To+Rural+Indian+Teen+In+Netflix+Film+%E2%80%94+And+In+Real+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Asha Gond first started skateboarding, neighbors in her village of Janwar in central India were aghast. They urged the teenager’s parents to keep her busy with housework or get her married. When she walked through the village, skateboard in hand, they would sneer at her and make disparaging comments. Skateboarding is for boys, Gond, now 21, recalls the villagers saying.\u003c/p>\n\u003cp>Skateboarding isn’t common in Indian cities, let alone remote rural areas like where Gond lives. The skatepark in her village was built by a German social activist. It ignited in her a life-altering passion for skateboarding—a passion Gond has pursued despite the rigid patriarchal norms in her village and one that has taken her to championships overseas.\u003c/p>\n\u003cp>It’s an incredible story of how one skatepark can change a girl’s—and really an entire community’s—life.\u003c/p>\n\u003cp>It also happens to be the plot of a new Netflix movie called \u003ca href=\"https://www.youtube.com/watch?v=k5Fn99wmFCQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skater Girl\u003c/em>\u003c/a> releasing June 11. The movie chronicles the journey of a rural Indian teenage girl who discovers a life-changing passion for skateboarding after a Westerner builds a skatepark in her village but faces obstacles when she tries to chase her dream of competing.\u003c/p>\n\u003cp>The filmmakers say it’s a fictionalized account of stories of skateboarding girls in India. But Gond says it’s her story and that the filmmakers never got her permission—even though they met her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The things that they’ve shown in the trailer have actually happened to me,” she told NPR in a phone interview.\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/k5Fn99wmFCQ'\n title='//www.youtube.com/embed/k5Fn99wmFCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Why A Rural Village Got A Skatepark\u003c/strong>\u003c/p>\n\u003cp>Janwar is a tiny village of about 1,200 located at the edge of a tiger reserve in the state of Madhya Pradesh. Tribal communities called Adivasis make up about \u003ca href=\"https://urldefense.com/v3/__https:/censusindia.gov.in/2011census/dchb/2309_PART_B_DCHB_PANNA.pdf__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-4EhXZs%24\" target=\"_blank\" rel=\"noopener noreferrer\">half\u003c/a> of its population. India’s ancient caste system relegates Adivasis to the bottom of the social hierarchy and they typically live segregated from the rest of the community. When Gond was growing up, Adivasi children like her weren’t allowed to mix or play with their higher caste peers. Girls tended to marry early and the literacy rate was extremely low—especially among women.\u003c/p>\n\u003cp>Then came the skatepark, built by \u003ca href=\"https://www.ulrikereinhard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ulrike Reinhard\u003c/a>, a German business consultant and activist. Reinhard has been mostly living in India since 2012 and much of her work focuses on empowering youth in rural areas. She had been toying with the idea of building a school in rural India. But inspired by \u003ca href=\"https://urldefense.com/v3/__https:/www.skateistan.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U0HWm-GM%24\" target=\"_blank\" rel=\"noopener noreferrer\">Skateistan\u003c/a>, an international nonprofit organization that promotes education and gender equality through skateboarding, Reinhard decided to build a skatepark in Janwar.\u003c/p>\n\u003cp>“It was an experiment,” Reinhard says. “I thought, can a skatepark trigger change in such a stiff and old-traditioned community?”\u003c/p>\n\u003cp>To raise money for the project, Reinhard reached out to artists across the world to convert skateboards into artboards which she then auctioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When she had the funding, she encouraged skating enthusiasts from around the world to come to Janwar to help build the park. About a dozen came and constructed the skatepark with assistance from laborers in the village. The skatepark opened in 2015.\u003c/p>\n\u003cp>The end result was something most of the people in the village had never seen—or even heard of. Gond said her initial reaction was that it “looked very weird.” Some people thought it was a swimming pool, Reinhard says.\u003c/p>\n\u003cp>The kids came around quickly and thought the skatepark was cool, says Reinhard. But some adults were skeptical of Reinhard’s intentions and started spreading rumors that she was involved in human trafficking.\u003c/p>\n\u003cp>Gond’s mother was scared for her. “People would say [Reinhard] is going to sell your daughter and you won’t be able to see her again ever,” says Kamala Gond, who has since come around to support the project.\u003c/p>\n\u003cp>The German nonprofit \u003ca href=\"https://www.skate-aid.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Skate-aid\u003c/a> provided the first batch of 20 skateboards. Reinhard doesn’t know how to skateboard so she showed the kids YouTube videos on a tablet to get them started.\u003c/p>\n\u003cp>In the beginning, it was difficult to maintain balance, Gond says.”The skateboard would go ahead when I stepped on it. I thought I would fall over and smash my face.”\u003c/p>\n\u003cp>But once she got the hang of it, it was all Gond could think of. “I would lie in bed at night and think about how to maneuver the skateboard to do a particular trick,” she says.\u003c/p>\n\u003cp>\u003cstrong>Girls Get Priority. And Leave Your Caste At the Door\u003c/strong>\u003c/p>\n\u003cp>The skatepark is free and open to all the children in the village, irrespective of caste. Encouraging Adivasi children and Yadav kids (a higher caste) to skate together is blurring caste divisions in the community, Gond says.\u003c/p>\n\u003cp>While members of higher castes don’t get special treatment, girls do. One of the skatepark’s rules is “Girls first”—meaning if there are no skateboards free, a girl can ask a skateboarding boy to give his skateboard to her and he has to agree.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The girls’ destiny is sealed the day they are born,” says Reinhard, adding that they are typically put to work at a young age and married off early. “So this was a way to tackle the gender [inequality] issue without naming it explicitly.”\u003c/p>\n\u003cp>Not everyone was happy to see girls skateboarding, much less Adivasi girls like Gond. Villagers would gossip that Gond would be better off learning to cook instead of skateboarding.\u003c/p>\n\u003cp>“They used to say to my parents, ‘What is she going to do after she goes to her husband’s home?'” says Gond.\u003c/p>\n\u003cp>Some mornings, Gond recalls, she arrived at the skatepark to threatening messages written on the concrete. “They said they would burn me if I did skateboarding.”\u003c/p>\n\u003cfigure id=\"attachment_13898796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg\" alt=\"Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off. \u003ccite>(Vicky Roy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Gond continued to skate and quickly became a rising star in Janwar. Over the years, she’s traveled across India to participate in skateboarding contests. In 2018, she represented India in the World Skateboarding Championship in Nanjing, China. She came in nearly last, but she was the only Indian in the women’s games, competing against many who came from countries with long traditions of skateboarding.\u003c/p>\n\u003cp>Gond is also co-founder and director of the nonprofit organization Barefoot Skateboarders, which focuses on the education and development of the children in Janwar.\u003c/p>\n\u003cp>Her mother says she’s proud of her.\u003c/p>\n\u003cp>“I feel wonderful, I had never imagined that my daughter could do this or achieve what she has achieved,” says Kamala Gond, who says she regrets that she never had the opportunity to go to school and was married when she was a young teen. “What I couldn’t do, my daughter is doing.”\u003c/p>\n\u003cp>\u003cstrong>‘No School. No Skateboarding’\u003c/strong>\u003c/p>\n\u003cp>The second rule at the skatepark is, “No school. No skateboarding.” When the kids skip school or are kept home by their parents, they aren’t allowed to skateboard. And to make school a better experience, Reinhard partnered with \u003ca href=\"https://urldefense.com/v3/__https:/prakriti.edu.in/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-jK3Wug%24\" target=\"_blank\" rel=\"noopener noreferrer\">Prakriti School\u003c/a>, an organization that focuses on innovative learning, to organize workshops for teachers in Janwar to improve their teaching skills. As a result, school attendance has gone up considerably, Reinhard says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We really have created an eagerness to learn,” Reinhard says, adding that they’ve built a second skatepark and a community center that Gond manages where kids can take part in a variety of activities, including painting and karate. “We have a computer lab and the kids are sitting in front of computer screens learning Hindi poems or math.”\u003c/p>\n\u003cp>Reinhard says skateboarding is the oil that keeps the whole machine running. It’s a model that’s been successful in many countries. The nonprofit Skateistan now runs programs in Afghanistan, Cambodia and South Africa. Skate After School, an \u003ca href=\"https://urldefense.com/v3/__https:/www.skateafterschool.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U8BlZH3T%24\" target=\"_blank\" rel=\"noopener noreferrer\">Arizona-based nonprofit\u003c/a>, teaches skateboarding to nurture children from underserved communities.\u003c/p>\n\u003cp>How does it work? Sports as a means of social change is powerful, says \u003ca href=\"https://urldefense.com/v3/__https:/malala.org/champions/jyotsna-jha__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UzBEPwlp%24\" target=\"_blank\" rel=\"noopener noreferrer\">Jyotsna Jha\u003c/a>, director of the Indian think tank Center for Budget and Policy Studies. “Especially something like skating, which is novel and thrilling, can really create a sense of achievement among children that they had perhaps never experienced otherwise,” she said via email.\u003c/p>\n\u003cp>Sports has always been a gendered act, she says. “But when a sport is introduced for girls that is not traditionally associated with girls, it helps in breaking many stereotypes and also generating new ways of thinking,” Jha says.\u003c/p>\n\u003cfigure id=\"attachment_13898797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg\" alt=\"Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village. \u003ccite>(Aslam Saiyad/Barefoot Skateboarders Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>An Inspiring Movie And A Controversy\u003c/strong>\u003c/p>\n\u003cp>The impact that skateboarding is creating in different communities is what director Manjari Makijany says inspired her movie \u003cem>Skater Girl\u003c/em>. But after watching the trailer, some people on social media familiar with Reinhard’s work and Gond’s story assumed the movie was about Gond and the skatepark in Janwar. But Gond says the filmmakers never got permission to tell her story.\u003c/p>\n\u003cp>“Why don’t you ask me that you are going to tell my story?” Gond \u003ca href=\"https://urldefense.com/v3/__https:/www.facebook.com/NetflixFamily/posts/1182671495505173?comment_id=163450362388313__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U2jrrCCu%24\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> in a comment to a Netflix post sharing the trailer.\u003c/p>\n\u003cp>In an email to NPR, Makijany denied that the movie was about Gond.\u003c/p>\n\u003cp>“\u003cem>Skater Girl\u003c/em> is not a biopic based on anyone’s life story nor is it a documentary,” Makijany says. “It is not [Gond or Reinhard’s] story.”\u003c/p>\n\u003cp>In the movie, as in Janwar, the rule is “No school, No skateboarding” and it’s a Westerner—like Reinhard—who introduces the village to skateboarding and builds a skatepark.\u003c/p>\n\u003cp>Gond says the filmmakers met with her in Janwar and spoke to her about how skateboarding had changed her life and transformed her village. The director says Gond was just one of many girls they met during the making of the movie. The movie was also not shot in Janwar but in a village in Rajasthan state.\u003c/p>\n\u003cp>Reinhard had a contract to be a research consultant on the movie but says she quit early because of differences over the storytelling approach.\u003c/p>\n\u003cp>“It turned out to be this kitschy, cheesy kind of thing,” she says.\u003c/p>\n\u003cp>Reinhard also says from an ethical point of view, the filmmakers should have made a contract with Gond and the other children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reinhard’s name and the Janwar skatepark appear in the end credits of the movie, along with the names of other skateboarders in India and around the world. The director says Gond and the other Janwar children were given a chance to be a part of the movie’s climax scene, but they declined.\u003c/p>\n\u003cp>“We said if this is our story we want to be seen and tell our story. We don’t want to be only in the background of the last scene,” Gond says.\u003c/p>\n\u003cp>Despite her misgivings, Reinhard says overall, the movie will benefit Janwar and raise awareness about their work and about skateboarding. A new \u003ca href=\"https://urldefense.com/v3/__https:/www.desertdolphinskatepark.com/about__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UysxWPbE%24\" target=\"_blank\" rel=\"noopener noreferrer\">skatepark\u003c/a> was built in Khempur village where the movie was shot and is now being used by the community there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for Gond, she says she is curious to see the full movie. All she has to do now is get a Netflix account, a luxury most people in her village do not have.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Skateboarding+Gives+Freedom+To+Rural+Indian+Teen+In+Netflix+Film+%E2%80%94+And+In+Real+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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