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"content": "\u003cp>Paul Mooney, a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose sage, incisive musings on racism and American life made him a revered figure in stand-up, has died. He was 79.\u003c/p>\n\u003cp>Cassandra Williams, Mooney’s publicist, said he died Wednesday morning at his home in Oakland, California, from a heart attack.\u003c/p>\n\u003cp>Mooney’s friendship and collaboration with Pryor began in 1968 and lasted until Pryor’s death in 2005. Together, working behind the scenes on shows like \u003cem>Sanford and Son\u003c/em>, they confronted racism perhaps more directly than it ever had been before onstage. Mooney chronicled their partnership in his 2007 memoir \u003cem>Black Is the New White\u003c/em>.\u003c/p>\n\u003cp>Often referred to as the “godfather of modern Black comedy,” Mooney wasn’t as widely known as Pryor, but his influence on comedy was ubiquitous. As head writer on \u003cem>In Living Color\u003c/em>, Mooney helped create and inspire the Homey D. Clown character. He played the future-foretelling Negrodamus on \u003cem>Chappelle’s Show\u003c/em>.\u003c/p>\n\u003cp>Mooney was also an actor who played Sam Cooke in 1978′s \u003cem>The Buddy Holly Story\u003c/em> and Junebug in Spike Lee’s 2000 film \u003cem>Bamboozled\u003c/em>. In recent years, he performed frequently on Bay Area stages, such as the Berkeley Black Repertory Theatre. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Growing up, Seth Rogen wasn’t much of a student, but he did like telling jokes. When he was 12, his mother signed him up for a local comedy class. He was the youngest person in the class by far, but that didn’t stop him from performing stand-up in their show, which took place at a lesbian bar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897383 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/9781984825414.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">“It always will be a part of my story that the first time I told jokes was in front of about a hundred lesbians,” Rogen says. “Most of my jokes were grandparent-based. … I assumed the lesbians had grandparents just like I did.”\u003c/p>\n\u003cp>Rogen’s set was inspired by his comedy teacher, who taught the class that comedy is pain, and that comics should write material based on the conflicts in their lives. Though he’s moved on from grandparent jokes, his teacher’s advice remains with him.\u003c/p>\n\u003cp>“Entertainment and comedy comes from conflict,” Rogen says. “In general, looking towards that feeling rather than [toward] ‘What do you love? What makes you happy? What’s going great?’ is, for sure, something that I still think about a lot.”\u003c/p>\n\u003cp>Rogen’s film credits include \u003cem>Knocked Up\u003c/em>, \u003cem>Superbad\u003c/em>, \u003cem>Pineapple Express, Steve Jobs \u003c/em>and \u003cem>Long Shot.\u003c/em> In his new memoir, \u003cem>Yearbook\u003c/em>, Rogen shares funny stories of his early years, and his more recent life.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On struggling with school as a kid \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I did very bad in school, always. My teachers did not like me. I always was getting kicked out of class in elementary school. I would just get kicked out of class all the time—which is a funny thing when you think about it. That’s how they would just deal with me: It was just like, go stand in the hall alone. I understand why it was maybe the best thing to do with me at that moment. And then in high school, I really just stopped caring about school. And very quickly I was like, this is not going to be my path to success in life. I would say I had a casual relationship with attending high school in general. [Dropping out] felt more like the very expected conclusion of what had been a long downward spiral. It was not surprising that anyone. … No one really tried to convince me to stay or even get a GED. No one in my life was like, “This is going to ruin your life if you drop out of high school!” It was very clear by then that I was highly motivated to do other things—just not academic things.\u003c/p>\n\u003cp>\u003cstrong>On having mild \u003c/strong>\u003ca href=\"https://www.cdc.gov/ncbddd/tourette/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tourette syndrome\u003c/strong>\u003c/a>\u003cstrong> and finding relief on stage \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_5105']What was always interesting is that it would totally go away when I was on stage. I would have a cough. Sometimes I got twitchy, like I would always clear my throat or I’d shake my head or I would flare my nostrils. Those were things I would do a lot. And whenever I went on stage, it completely went away. It never happened when I was on stage, which was always fascinating to me and always kind of showed me that it was not a physical, in the traditional sense, thing that I had. … In some way, my brain was doing it because my brain could stop doing it. And also when I smoked weed, it made it much better. Like, it really kind of relaxed me and put everything at ease a little bit and for sure ease a lot of those symptoms.\u003c/p>\n\u003cp>\u003cstrong>On working with his writing, directing and producing partner Evan Goldberg, and being criticized for having characters in their films be bad influences \u003c/strong>\u003c/p>\n\u003cp>We make R-rated movies, so by nature they’re not something that a lot of young kids can go see on their own without their parents taking them. But, I think that being said, I mean, it’s something that we are more aware of than we used to be, especially now that my friends have kids. There are things that I think when we were younger, honestly looking at movies and things like that, our movies, I think we would justify certain things by saying like, “Well, we’re not condoning this behavior.” Like, sure, the protagonist is doing it, but they are learning a lesson that they shouldn’t do it in the end. But I think over the years I’ve seen more that if your protagonists are doing it, the nuance that maybe they’ve learned a lesson at some point of the movie that they shouldn’t be doing that thing is lost on a lot of people. And most people just take like, “Oh, that’s a cool thing to do!” And so that’s something we’ve grown more aware of over the years, I would say.\u003c/p>\n\u003cp>\u003cstrong>On getting into a car accident (and nearly dying) while on his first date with his now wife \u003c/strong>\u003c/p>\n\u003cp>I think it probably tells you a lot about the other person very fast. I think you could really get a sense for what someone is like after you’ve both almost died, and we really still liked each other. We both dealt with it well, neither of us freaked out. We genuinely cared about the other person’s well-being. … I think it was really something that made us get to know each other much faster than normal dating. It’s like … when you see in an action movie these two people [who] have never met, and then they go through explosions and car chases, and by the end of it, they’re in love. It was like a very kind of lame version of that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Petra Mayer adapted it for the Web.\u003c/em>\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=Seth+Rogen+On+The+Comedy+Advice+He+Got+At+12+That+He+Still+Thinks+About+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, Seth Rogen wasn’t much of a student, but he did like telling jokes. When he was 12, his mother signed him up for a local comedy class. He was the youngest person in the class by far, but that didn’t stop him from performing stand-up in their show, which took place at a lesbian bar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897383 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/9781984825414.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">“It always will be a part of my story that the first time I told jokes was in front of about a hundred lesbians,” Rogen says. “Most of my jokes were grandparent-based. … I assumed the lesbians had grandparents just like I did.”\u003c/p>\n\u003cp>Rogen’s set was inspired by his comedy teacher, who taught the class that comedy is pain, and that comics should write material based on the conflicts in their lives. Though he’s moved on from grandparent jokes, his teacher’s advice remains with him.\u003c/p>\n\u003cp>“Entertainment and comedy comes from conflict,” Rogen says. “In general, looking towards that feeling rather than [toward] ‘What do you love? What makes you happy? What’s going great?’ is, for sure, something that I still think about a lot.”\u003c/p>\n\u003cp>Rogen’s film credits include \u003cem>Knocked Up\u003c/em>, \u003cem>Superbad\u003c/em>, \u003cem>Pineapple Express, Steve Jobs \u003c/em>and \u003cem>Long Shot.\u003c/em> In his new memoir, \u003cem>Yearbook\u003c/em>, Rogen shares funny stories of his early years, and his more recent life.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On struggling with school as a kid \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I did very bad in school, always. My teachers did not like me. I always was getting kicked out of class in elementary school. I would just get kicked out of class all the time—which is a funny thing when you think about it. That’s how they would just deal with me: It was just like, go stand in the hall alone. I understand why it was maybe the best thing to do with me at that moment. And then in high school, I really just stopped caring about school. And very quickly I was like, this is not going to be my path to success in life. I would say I had a casual relationship with attending high school in general. [Dropping out] felt more like the very expected conclusion of what had been a long downward spiral. It was not surprising that anyone. … No one really tried to convince me to stay or even get a GED. No one in my life was like, “This is going to ruin your life if you drop out of high school!” It was very clear by then that I was highly motivated to do other things—just not academic things.\u003c/p>\n\u003cp>\u003cstrong>On having mild \u003c/strong>\u003ca href=\"https://www.cdc.gov/ncbddd/tourette/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tourette syndrome\u003c/strong>\u003c/a>\u003cstrong> and finding relief on stage \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What was always interesting is that it would totally go away when I was on stage. I would have a cough. Sometimes I got twitchy, like I would always clear my throat or I’d shake my head or I would flare my nostrils. Those were things I would do a lot. And whenever I went on stage, it completely went away. It never happened when I was on stage, which was always fascinating to me and always kind of showed me that it was not a physical, in the traditional sense, thing that I had. … In some way, my brain was doing it because my brain could stop doing it. And also when I smoked weed, it made it much better. Like, it really kind of relaxed me and put everything at ease a little bit and for sure ease a lot of those symptoms.\u003c/p>\n\u003cp>\u003cstrong>On working with his writing, directing and producing partner Evan Goldberg, and being criticized for having characters in their films be bad influences \u003c/strong>\u003c/p>\n\u003cp>We make R-rated movies, so by nature they’re not something that a lot of young kids can go see on their own without their parents taking them. But, I think that being said, I mean, it’s something that we are more aware of than we used to be, especially now that my friends have kids. There are things that I think when we were younger, honestly looking at movies and things like that, our movies, I think we would justify certain things by saying like, “Well, we’re not condoning this behavior.” Like, sure, the protagonist is doing it, but they are learning a lesson that they shouldn’t do it in the end. But I think over the years I’ve seen more that if your protagonists are doing it, the nuance that maybe they’ve learned a lesson at some point of the movie that they shouldn’t be doing that thing is lost on a lot of people. And most people just take like, “Oh, that’s a cool thing to do!” And so that’s something we’ve grown more aware of over the years, I would say.\u003c/p>\n\u003cp>\u003cstrong>On getting into a car accident (and nearly dying) while on his first date with his now wife \u003c/strong>\u003c/p>\n\u003cp>I think it probably tells you a lot about the other person very fast. I think you could really get a sense for what someone is like after you’ve both almost died, and we really still liked each other. We both dealt with it well, neither of us freaked out. We genuinely cared about the other person’s well-being. … I think it was really something that made us get to know each other much faster than normal dating. It’s like … when you see in an action movie these two people [who] have never met, and then they go through explosions and car chases, and by the end of it, they’re in love. It was like a very kind of lame version of that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Petra Mayer adapted it for the Web.\u003c/em>\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=Seth+Rogen+On+The+Comedy+Advice+He+Got+At+12+That+He+Still+Thinks+About+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Charles Grodin, whose comic characters were almost always hapless, and whose serious characters generally gave that trademark haplessness a sinister twist, died Tuesday of cancer at his home in Wilton, Conn. He was 86.\u003c/p>\n\u003cp>His death, from \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=99970093\" target=\"_blank\" rel=\"noopener noreferrer\">bone marrow cancer\u003c/a>, was confirmed to NPR by his son, actor Nicholas Grodin.\u003c/p>\n\u003cp>He was the obstetrician who gave \u003cem>Rosemary’s Bab\u003c/em>y to a coven of witches, the dog owner who couldn’t control his enormous Saint Bernard in the \u003cem>Beethoven\u003c/em> movies, and the man who met the girl of his dreams just a little bit late in \u003cem>The Heartbreak Kid. \u003c/em>He was, sad to say, on his honeymoon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ytlIXSl9GI\u003c/p>\n\u003cp>Grodin credited Elaine May’s direction of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=15017471\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Heartbreak Kid\u003c/em>\u003c/a> with jump-starting his film career in 1972, though he’d made his debut as an uncredited child actor almost two decades earlier in \u003cem>20,000 Leagues Under the Sea.\u003c/em> He became a familiar face in such comedies as \u003cem>Heaven Can Wait \u003c/em>and \u003cem>Midnight Run\u003c/em>, in which he played an accountant pursued by Robert De Niro after having embezzled from the mob.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When not working in films, Grodin directed plays on Broadway, including \u003cem>Lovers and Other Strangers \u003c/em>in 1968 and \u003cem>Thieves\u003c/em> in 1974 with Marlo Thomas. And in 1975, he scored a big success opposite Ellen Burstyn as an annual philanderer in the Broadway romantic comedy \u003cem>Same Time, Next Year\u003c/em> (the part went to Alan Alda in the film version).\u003c/p>\n\u003cp>Grodin once described himself as “low-key, but high-strung,” which also described a lot of his characters. And he was so sought after as a talk-show guest on late-night TV (\u003ca href=\"https://www.npr.org/2012/05/13/152496256/johnny-carson-king-of-late-night-a-man-unknown\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Carson\u003c/a> had him on \u003cem>The Tonight Show\u003c/em> 36 times), he ended up hosting a talk show host himself in the 1990s.\u003c/p>\n\u003cp>His knack for deadpan humor extended to books with titles such as \u003cem>How I Got to Be Whoever it is I Am\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jtA511lb0Sw\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=Charles+Grodin%2C+Star+Of+%27Beethoven%27+And+%27Midnight+Run%2C%27+Has+Died+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Charles Grodin, whose comic characters were almost always hapless, and whose serious characters generally gave that trademark haplessness a sinister twist, died Tuesday of cancer at his home in Wilton, Conn. He was 86.\u003c/p>\n\u003cp>His death, from \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=99970093\" target=\"_blank\" rel=\"noopener noreferrer\">bone marrow cancer\u003c/a>, was confirmed to NPR by his son, actor Nicholas Grodin.\u003c/p>\n\u003cp>He was the obstetrician who gave \u003cem>Rosemary’s Bab\u003c/em>y to a coven of witches, the dog owner who couldn’t control his enormous Saint Bernard in the \u003cem>Beethoven\u003c/em> movies, and the man who met the girl of his dreams just a little bit late in \u003cem>The Heartbreak Kid. \u003c/em>He was, sad to say, on his honeymoon.\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/5ytlIXSl9GI'\n title='//www.youtube.com/embed/5ytlIXSl9GI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Grodin credited Elaine May’s direction of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=15017471\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Heartbreak Kid\u003c/em>\u003c/a> with jump-starting his film career in 1972, though he’d made his debut as an uncredited child actor almost two decades earlier in \u003cem>20,000 Leagues Under the Sea.\u003c/em> He became a familiar face in such comedies as \u003cem>Heaven Can Wait \u003c/em>and \u003cem>Midnight Run\u003c/em>, in which he played an accountant pursued by Robert De Niro after having embezzled from the mob.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When not working in films, Grodin directed plays on Broadway, including \u003cem>Lovers and Other Strangers \u003c/em>in 1968 and \u003cem>Thieves\u003c/em> in 1974 with Marlo Thomas. And in 1975, he scored a big success opposite Ellen Burstyn as an annual philanderer in the Broadway romantic comedy \u003cem>Same Time, Next Year\u003c/em> (the part went to Alan Alda in the film version).\u003c/p>\n\u003cp>Grodin once described himself as “low-key, but high-strung,” which also described a lot of his characters. And he was so sought after as a talk-show guest on late-night TV (\u003ca href=\"https://www.npr.org/2012/05/13/152496256/johnny-carson-king-of-late-night-a-man-unknown\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Carson\u003c/a> had him on \u003cem>The Tonight Show\u003c/em> 36 times), he ended up hosting a talk show host himself in the 1990s.\u003c/p>\n\u003cp>His knack for deadpan humor extended to books with titles such as \u003cem>How I Got to Be Whoever it is I Am\u003c/em>.\u003c/p>\n\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/jtA511lb0Sw'\n title='//www.youtube.com/embed/jtA511lb0Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Charles+Grodin%2C+Star+Of+%27Beethoven%27+And+%27Midnight+Run%2C%27+Has+Died+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Andrew McCarthy Recalls His Brat Pack Years in a New Memoir",
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"content": "\u003cp>We’re going to go back now to the ’80s—you remember that era: big hair, big shoulder pads, Walkmans and a new kind of film star.\u003c/p>\n\u003cp>Andrew McCarthy starred in iconic movies like \u003cem>St. Elmo’s Fire\u003c/em>, \u003cem>Pretty in Pink\u003c/em> and \u003cem>Weekend at Bernie’s\u003c/em>. He’s considered one of the so-called Brat Pack—think Emilio Estevez, Demi Moore, Judd Nelson, young stars with swagger who were in all the hot movies that catered to the desires and dreams of young people for the first time.\u003c/p>\n\u003cp>McCarthy has spent a lot of his adult life running away from that label. But in his new memoir, \u003cem>Brat: An ’80s Story\u003c/em>, he takes a look back at his tumultuous 20s, when he first became famous.\u003c/p>\n\u003cfigure id=\"attachment_13897262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg\" alt=\"'Brat' by Andrew McCarthy.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Brat’ by Andrew McCarthy. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the name “Brat Pack,” which came from a 1985 \u003cem>New York Magazine\u003c/em> article\u003c/strong>\u003c/p>\n\u003cp>Well, it was a shock I think, to all of us, because it was on the cover of the magazine. I think it was supposed to be originally a small feature on Emilio. And then he invited the writer out with some of his buddies to go drinking at the Hard Rock Cafe one night. The writer turned off to his subject and it evolved into this cover story called “The Brat Pack.” And it’s interesting because the photo on the cover was a still shot from \u003cem>St. Elmo’s Fire\u003c/em>, which I was in. And then I was removed, cut out of it, for the cover shot. And when I saw the cover I went, ‘Oh my God, they cut me out.’ And then I read the article and I went, ‘Oh my God, thank God they cut me out.’ And then soon enough, I was swept up into it anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On how Molly Ringwald picked him for \u003cem>Pretty in Pink\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They were looking for a square-jawed, broad-shouldered quarterback type to play her boyfriend; to play the guy from the other side of the tracks. The right side of the tracks, as it were. And I had just been in \u003cem>St. Elmo’s Fire\u003c/em>, which hadn’t come out yet, but there was some buzz about the movie. And you’re never hotter than when nobody’s seen anything you’ve done. And so I was granted this sort of courtesy audition, because I was not the square-jawed, broad-shouldered quarterback type.\u003c/p>\n\u003cp>[aside postid='pop_107900']And anyway, I walked in and Molly was in there reading with people, and Molly and I read the scene together and John Hughes kind of went, ‘Okay, thank you.’ And he couldn’t have really cared less. And when I left the room, apparently Molly turned to John, said, ‘Well, that’s the guy.’ And John was like, ‘That wimpy guy?’ She’s like, ‘Yeah, he’s poetic and sensitive. That’s the kind of guy I’d fall for, not some jocky idiot.’ And John, to his credit, not only gave lip service to sort of respecting young people in his movies, he [actually] did. And he said, ‘Okay, I don’t really see it. But if you say he’s the guy, you got him.’\u003c/p>\n\u003cp>\u003cstrong>On the John Hughes movies\u003c/strong>\u003c/p>\n\u003cp>They were … about, you know, respecting young people and honoring that their emotions that they feel are bigger and deeper and fuller and more all-encompassing than yours or mine. You know, as adults, we kind of go, ‘He’s just a kid.’ And no. Like, my son is 19 years old and he’s in love for the first time. And he is the first person to ever be in love. And it is powerful and it is beautiful and it is all-encompassing in his life. And we were all that way at one point. And John honored that in a way that other grown-ups had not. And so kids saw that and went, ‘Yeah, that’s me, that’s my world, and latched onto us in a very deep way.’ And that’s all to John’s credit.\u003c/p>\n\u003cp>\u003cstrong>On his relationship with alcohol\u003c/strong>\u003c/p>\n\u003cp>The first thing I always say in discussing this is that I did not drink in any way as a reaction to my success. I didn’t feel, ‘Oh, he’s too young to handle it, so I turned to drink.’ Not at all. I started drinking sort of parallel—simultaneously. And my drinking was very much about drinking. I drank because I had an affinity to alcohol, and a tendency toward it, and an alcoholic temperament and neurobiology, you know. And it happened to coincide with the movies. And it certainly was detrimental to my career—in the later stages of it, for sure. But it wasn’t a reaction to my career. You know, I drank better vodka because I was in the movies—it didn’t cause me to start drinking.\u003c/p>\n\u003cp>\u003cstrong>On how fame affected him\u003c/strong>\u003c/p>\n\u003cp>Oh, I think fame changes you on a cellular level … As you’re growing up, you’re the center of the world and the center of the universe. And then as you grow up, you kind of get out into the world and you realize your mom was probably wrong. You’re not really the center of the world. And then you become famous and suddenly, no, no, no, no, you \u003cem>are\u003c/em> the center of the world. And so you stop growing in a certain way. And developmentally, it’s probably not the best thing for one’s being a well-rounded adult to be treated in such a way. You know, I always want to be treated special. Who doesn’t? But is that the best thing for me? And, you know, when you’re young—when you’re 20, 22, 23—like I was when I was starting to get successful in that way, you don’t even know who you are in a certain way yet. So stepping out on the hollow ground of fame is precarious when you’re not even sure who you are yet. So I found that a lot to navigate, for sure.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the Brat Pack-era movies\u003c/strong>\u003c/p>\n\u003cp>I think that’s lovely, you know. I think those kids who find them that way are really responding to their parents who were so invested. And you know what I represent now—I’m like an avatar to that generation’s youth. They’re not only looking back at the movies, they’re looking back at themselves when they were young. And at that moment when they were 20, whenever, they were just bursting out into the world when their life is an empty canvas to be painted on.\u003c/p>\n\u003cp>[aside postid='pop_97337']And there’s no more thrilling, exciting moment in our lives than when we are young and just—get out of my way! I’m coming out, world! And those movies represented that to a lot of people. And so I, in a certain way, kind of represent that to people. And I’ve grown to find that very satisfying, whereas I ran from that for so long. But I’ve come to really think of that as a gift. And that said, the emotions are true in those movies—I think they’re pretty truthful. However dated they may be as movies, the emotions underneath are timeless in that way. And so kids can relate to that. Maybe not the hair, but, you know, the emotions.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Isabella Gomez and Melissa Gray, and adapted for the web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2021 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re going to go back now to the ’80s—you remember that era: big hair, big shoulder pads, Walkmans and a new kind of film star.\u003c/p>\n\u003cp>Andrew McCarthy starred in iconic movies like \u003cem>St. Elmo’s Fire\u003c/em>, \u003cem>Pretty in Pink\u003c/em> and \u003cem>Weekend at Bernie’s\u003c/em>. He’s considered one of the so-called Brat Pack—think Emilio Estevez, Demi Moore, Judd Nelson, young stars with swagger who were in all the hot movies that catered to the desires and dreams of young people for the first time.\u003c/p>\n\u003cp>McCarthy has spent a lot of his adult life running away from that label. But in his new memoir, \u003cem>Brat: An ’80s Story\u003c/em>, he takes a look back at his tumultuous 20s, when he first became famous.\u003c/p>\n\u003cfigure id=\"attachment_13897262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg\" alt=\"'Brat' by Andrew McCarthy.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Brat’ by Andrew McCarthy. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the name “Brat Pack,” which came from a 1985 \u003cem>New York Magazine\u003c/em> article\u003c/strong>\u003c/p>\n\u003cp>Well, it was a shock I think, to all of us, because it was on the cover of the magazine. I think it was supposed to be originally a small feature on Emilio. And then he invited the writer out with some of his buddies to go drinking at the Hard Rock Cafe one night. The writer turned off to his subject and it evolved into this cover story called “The Brat Pack.” And it’s interesting because the photo on the cover was a still shot from \u003cem>St. Elmo’s Fire\u003c/em>, which I was in. And then I was removed, cut out of it, for the cover shot. And when I saw the cover I went, ‘Oh my God, they cut me out.’ And then I read the article and I went, ‘Oh my God, thank God they cut me out.’ And then soon enough, I was swept up into it anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On how Molly Ringwald picked him for \u003cem>Pretty in Pink\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They were looking for a square-jawed, broad-shouldered quarterback type to play her boyfriend; to play the guy from the other side of the tracks. The right side of the tracks, as it were. And I had just been in \u003cem>St. Elmo’s Fire\u003c/em>, which hadn’t come out yet, but there was some buzz about the movie. And you’re never hotter than when nobody’s seen anything you’ve done. And so I was granted this sort of courtesy audition, because I was not the square-jawed, broad-shouldered quarterback type.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And anyway, I walked in and Molly was in there reading with people, and Molly and I read the scene together and John Hughes kind of went, ‘Okay, thank you.’ And he couldn’t have really cared less. And when I left the room, apparently Molly turned to John, said, ‘Well, that’s the guy.’ And John was like, ‘That wimpy guy?’ She’s like, ‘Yeah, he’s poetic and sensitive. That’s the kind of guy I’d fall for, not some jocky idiot.’ And John, to his credit, not only gave lip service to sort of respecting young people in his movies, he [actually] did. And he said, ‘Okay, I don’t really see it. But if you say he’s the guy, you got him.’\u003c/p>\n\u003cp>\u003cstrong>On the John Hughes movies\u003c/strong>\u003c/p>\n\u003cp>They were … about, you know, respecting young people and honoring that their emotions that they feel are bigger and deeper and fuller and more all-encompassing than yours or mine. You know, as adults, we kind of go, ‘He’s just a kid.’ And no. Like, my son is 19 years old and he’s in love for the first time. And he is the first person to ever be in love. And it is powerful and it is beautiful and it is all-encompassing in his life. And we were all that way at one point. And John honored that in a way that other grown-ups had not. And so kids saw that and went, ‘Yeah, that’s me, that’s my world, and latched onto us in a very deep way.’ And that’s all to John’s credit.\u003c/p>\n\u003cp>\u003cstrong>On his relationship with alcohol\u003c/strong>\u003c/p>\n\u003cp>The first thing I always say in discussing this is that I did not drink in any way as a reaction to my success. I didn’t feel, ‘Oh, he’s too young to handle it, so I turned to drink.’ Not at all. I started drinking sort of parallel—simultaneously. And my drinking was very much about drinking. I drank because I had an affinity to alcohol, and a tendency toward it, and an alcoholic temperament and neurobiology, you know. And it happened to coincide with the movies. And it certainly was detrimental to my career—in the later stages of it, for sure. But it wasn’t a reaction to my career. You know, I drank better vodka because I was in the movies—it didn’t cause me to start drinking.\u003c/p>\n\u003cp>\u003cstrong>On how fame affected him\u003c/strong>\u003c/p>\n\u003cp>Oh, I think fame changes you on a cellular level … As you’re growing up, you’re the center of the world and the center of the universe. And then as you grow up, you kind of get out into the world and you realize your mom was probably wrong. You’re not really the center of the world. And then you become famous and suddenly, no, no, no, no, you \u003cem>are\u003c/em> the center of the world. And so you stop growing in a certain way. And developmentally, it’s probably not the best thing for one’s being a well-rounded adult to be treated in such a way. You know, I always want to be treated special. Who doesn’t? But is that the best thing for me? And, you know, when you’re young—when you’re 20, 22, 23—like I was when I was starting to get successful in that way, you don’t even know who you are in a certain way yet. So stepping out on the hollow ground of fame is precarious when you’re not even sure who you are yet. So I found that a lot to navigate, for sure.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the Brat Pack-era movies\u003c/strong>\u003c/p>\n\u003cp>I think that’s lovely, you know. I think those kids who find them that way are really responding to their parents who were so invested. And you know what I represent now—I’m like an avatar to that generation’s youth. They’re not only looking back at the movies, they’re looking back at themselves when they were young. And at that moment when they were 20, whenever, they were just bursting out into the world when their life is an empty canvas to be painted on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And there’s no more thrilling, exciting moment in our lives than when we are young and just—get out of my way! I’m coming out, world! And those movies represented that to a lot of people. And so I, in a certain way, kind of represent that to people. And I’ve grown to find that very satisfying, whereas I ran from that for so long. But I’ve come to really think of that as a gift. And that said, the emotions are true in those movies—I think they’re pretty truthful. However dated they may be as movies, the emotions underneath are timeless in that way. And so kids can relate to that. Maybe not the hair, but, you know, the emotions.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Isabella Gomez and Melissa Gray, and adapted for the web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "As Many Entertainment Venues Start to Reopen, Nobody Does a Comeback Like the Movies",
"headTitle": "As Many Entertainment Venues Start to Reopen, Nobody Does a Comeback Like the Movies | KQED",
"content": "\u003cp>With just two weeks to go before \u003cem>A Quiet Place Part II\u003c/em> makes your local multiplex a less quiet place, Hollywood has started the back-to-cinemas drumroll.\u003c/p>\n\u003cp>“There’s nothing like that moment when the lights go down,” growls Vin Diesel, channeling his inner Richard Attenborough in \u003ca href=\"https://www.youtube.com/watch?v=5eblKqTZ-0Q\" target=\"_blank\" rel=\"noopener noreferrer\">a trailer for \u003cem>F9\u003c/em>\u003c/a>, the latest \u003cem>Fast & Furious\u003c/em> installment. “The projector ignites, and we believe.”\u003c/p>\n\u003cp>As he says this, a jeep explodes in flames, somersaulting over his car, and the implication is inescapable—you pretty much have to see this on the biggest possible screen.\u003c/p>\n\u003cp>“Nobody does a comeback like the movies,” Diesel continues. And he should know. This online appeal arrived just hours before the Oscars telecast, as Universal was preparing to release all eight of the previous F&F films in theaters, one per week to build excitement for \u003cem>F9\u003c/em>‘s opening at the end of June.\u003c/p>\n\u003cp>Then came a spot from Matthew McConaughey during the Oscars, singing the praises of the more than 150,000 cinema employees who’ve suffered through “the longest intermission they could’ve ever imagined”—a reference to the closure of theaters due to the COVID-19 pandemic—and are now eager to welcome patrons back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=faoUct00qec\u003c/p>\n\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13894499']And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdpxoFcdORI\u003c/p>\n\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\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=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With just two weeks to go before \u003cem>A Quiet Place Part II\u003c/em> makes your local multiplex a less quiet place, Hollywood has started the back-to-cinemas drumroll.\u003c/p>\n\u003cp>“There’s nothing like that moment when the lights go down,” growls Vin Diesel, channeling his inner Richard Attenborough in \u003ca href=\"https://www.youtube.com/watch?v=5eblKqTZ-0Q\" target=\"_blank\" rel=\"noopener noreferrer\">a trailer for \u003cem>F9\u003c/em>\u003c/a>, the latest \u003cem>Fast & Furious\u003c/em> installment. “The projector ignites, and we believe.”\u003c/p>\n\u003cp>As he says this, a jeep explodes in flames, somersaulting over his car, and the implication is inescapable—you pretty much have to see this on the biggest possible screen.\u003c/p>\n\u003cp>“Nobody does a comeback like the movies,” Diesel continues. And he should know. This online appeal arrived just hours before the Oscars telecast, as Universal was preparing to release all eight of the previous F&F films in theaters, one per week to build excitement for \u003cem>F9\u003c/em>‘s opening at the end of June.\u003c/p>\n\u003cp>Then came a spot from Matthew McConaughey during the Oscars, singing the praises of the more than 150,000 cinema employees who’ve suffered through “the longest intermission they could’ve ever imagined”—a reference to the closure of theaters due to the COVID-19 pandemic—and are now eager to welcome patrons back.\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/faoUct00qec'\n title='//www.youtube.com/embed/faoUct00qec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\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/QdpxoFcdORI'\n title='//www.youtube.com/embed/QdpxoFcdORI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\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=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! CAAMFest Brings Grit, Wit and Guts",
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"content": "\u003cp>In China, a “snakehead” is a human smuggler whose clients pay a lot of money to be transported illegally to the West. Sister Tse, the single-minded protagonist of Evan Jackson Leong’s pretty/gritty debut feature, \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/snakehead/\" rel=\"noopener noreferrer\" target=\"_blank\">Snakehead\u003c/a>\u003c/em>, doesn’t have any cash, so her only way of getting to New York is to sell herself: She’ll work off the debt—to a Chinatown crime family. You can guess what job they have in mind.\u003c/p>\n\u003cp>But Sister Tse (the wiry Shuya Chang) is both tougher and smarter than the rest, and escapes the brothel to win the respect and trust of ruthless Godmother Dai Mah (Jade Wu). Garnering more responsibility and bigger paydays (including a harrowing outing as a snakehead), Sister Tse keeps one eye on her balance owed and the other on her deep-secret raison d’être: The daughter she gave up years earlier, an innocent seedling in the foul Big Apple.\u003c/p>\n\u003cp>https://youtu.be/Th3dzOAYnus\u003c/p>\n\u003cp>\u003cem>Snakehead\u003c/em>, an implausible (though enjoyable) neon-and-crimson blend of lurid underworld saga, wishful maternal drama and arthouse postcard, is hardly the Hallmark card version of the Asian American experience. Its inclusion in \u003ca href=\"https://caamfest.com/2021/\" rel=\"noopener noreferrer\" target=\"_blank\">CAAMFest\u003c/a> (formerly the S.F. International Asian American Film Festival), as a gala presentation, no less, would have been controversial once upon a time. Not that that would have deterred the programmers; one of CAAMFest’s breakthrough—and continuing—accomplishments is demolishing the notion that an identity festival should only show positive representations. Or to put it another way, that culture (even pop) and art should function as public relations.\u003c/p>\n\u003cp>The risk always remains that portraits of flawed, complicated characters might be used to perpetuate stereotypes, I suppose. But if the last White House’s coining of “kung flu” and “Wuhan flu” told us anything, it’s that con men and bigots will use any pretense to manipulate their marks. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So CAAMFest, which runs online May 13–23 along with three drive-in programs at Fort Mason (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-15\" rel=\"noopener noreferrer\" target=\"_blank\">Hong Kong double bill\u003c/a> of Wong Kar-wai’s \u003cem>Happy Together\u003c/em> and the Bay Area premiere of Adam Wong’s \u003cem>The Way We Keep Dancing\u003c/em> on May 15), stays the course, maintaining its inclusivity along with its fearlessness. And that inclusivity extends to \u003ca href=\"https://caamfest.com/2021/free-screenings-and-events/\" rel=\"noopener noreferrer\" target=\"_blank\">free screenings\u003c/a> (the documentaries \u003cem>Amy Tan: Unintended Memoir\u003c/em>, \u003cem>The Donut King\u003c/em> and \u003cem>Ricochet\u003c/em>) and panels (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-22\" rel=\"noopener noreferrer\" target=\"_blank\">May 22 interview\u003c/a> with Evan Jackson Leong prior to \u003cem>Snakehead\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13897140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Junho_Still4_1200.jpg\" alt=\"\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13897140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from David Seok Hoon Boo’s ‘Junho.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco, whose screen persona seems to be evolving with the city itself, takes a twirl in the spotlight in another debut feature, David Seok Hoon Boo’s \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/junho/\" rel=\"noopener noreferrer\" target=\"_blank\">Junho\u003c/a>\u003c/em>. The titular character, a young acolyte in a South Korean acting company that operates like a hierarchy for hazing as much as a venue for theater, jets away to the Bay when a scandalous violation rocks the troupe.\u003c/p>\n\u003cp>Junho (Wonjun Jo) wasn’t the perpetrator, but he’s tormented by guilt and gutlessness. San Francisco has long represented in movies the possibility of reinvention, if not transformation, but the filmmaker (who did his graduate work at SFAI and is a cofounder of the Bay Area Film Collective) casts the city as hideout rather than catalyst. Junho drinks and rages, his nights spent working in a taco truck and his days flashing back to the young woman he befriended but didn’t protect.\u003c/p>\n\u003cp>Counterintuitively, the meandering interior journey of \u003cem>Junho\u003c/em> entails more screen time than the globe-spanning saga of \u003cem>Snakehead\u003c/em>. Eventually it sinks in for Junho, by way of the shimmering but chilly views from the Embarcadero and the unwelcoming streets of recently developed SoMa: You can run but you can’t hide—from yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>CAAMFest 2021 runs May 13–23 with online and drive-in screenings. \u003ca href=\"https://caamfest.com/2021/\" 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>In China, a “snakehead” is a human smuggler whose clients pay a lot of money to be transported illegally to the West. Sister Tse, the single-minded protagonist of Evan Jackson Leong’s pretty/gritty debut feature, \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/snakehead/\" rel=\"noopener noreferrer\" target=\"_blank\">Snakehead\u003c/a>\u003c/em>, doesn’t have any cash, so her only way of getting to New York is to sell herself: She’ll work off the debt—to a Chinatown crime family. You can guess what job they have in mind.\u003c/p>\n\u003cp>But Sister Tse (the wiry Shuya Chang) is both tougher and smarter than the rest, and escapes the brothel to win the respect and trust of ruthless Godmother Dai Mah (Jade Wu). Garnering more responsibility and bigger paydays (including a harrowing outing as a snakehead), Sister Tse keeps one eye on her balance owed and the other on her deep-secret raison d’être: The daughter she gave up years earlier, an innocent seedling in the foul Big Apple.\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/Th3dzOAYnus'\n title='//www.youtube.com/embed/Th3dzOAYnus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Snakehead\u003c/em>, an implausible (though enjoyable) neon-and-crimson blend of lurid underworld saga, wishful maternal drama and arthouse postcard, is hardly the Hallmark card version of the Asian American experience. Its inclusion in \u003ca href=\"https://caamfest.com/2021/\" rel=\"noopener noreferrer\" target=\"_blank\">CAAMFest\u003c/a> (formerly the S.F. International Asian American Film Festival), as a gala presentation, no less, would have been controversial once upon a time. Not that that would have deterred the programmers; one of CAAMFest’s breakthrough—and continuing—accomplishments is demolishing the notion that an identity festival should only show positive representations. Or to put it another way, that culture (even pop) and art should function as public relations.\u003c/p>\n\u003cp>The risk always remains that portraits of flawed, complicated characters might be used to perpetuate stereotypes, I suppose. But if the last White House’s coining of “kung flu” and “Wuhan flu” told us anything, it’s that con men and bigots will use any pretense to manipulate their marks. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So CAAMFest, which runs online May 13–23 along with three drive-in programs at Fort Mason (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-15\" rel=\"noopener noreferrer\" target=\"_blank\">Hong Kong double bill\u003c/a> of Wong Kar-wai’s \u003cem>Happy Together\u003c/em> and the Bay Area premiere of Adam Wong’s \u003cem>The Way We Keep Dancing\u003c/em> on May 15), stays the course, maintaining its inclusivity along with its fearlessness. And that inclusivity extends to \u003ca href=\"https://caamfest.com/2021/free-screenings-and-events/\" rel=\"noopener noreferrer\" target=\"_blank\">free screenings\u003c/a> (the documentaries \u003cem>Amy Tan: Unintended Memoir\u003c/em>, \u003cem>The Donut King\u003c/em> and \u003cem>Ricochet\u003c/em>) and panels (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-22\" rel=\"noopener noreferrer\" target=\"_blank\">May 22 interview\u003c/a> with Evan Jackson Leong prior to \u003cem>Snakehead\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13897140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Junho_Still4_1200.jpg\" alt=\"\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13897140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from David Seok Hoon Boo’s ‘Junho.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco, whose screen persona seems to be evolving with the city itself, takes a twirl in the spotlight in another debut feature, David Seok Hoon Boo’s \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/junho/\" rel=\"noopener noreferrer\" target=\"_blank\">Junho\u003c/a>\u003c/em>. The titular character, a young acolyte in a South Korean acting company that operates like a hierarchy for hazing as much as a venue for theater, jets away to the Bay when a scandalous violation rocks the troupe.\u003c/p>\n\u003cp>Junho (Wonjun Jo) wasn’t the perpetrator, but he’s tormented by guilt and gutlessness. San Francisco has long represented in movies the possibility of reinvention, if not transformation, but the filmmaker (who did his graduate work at SFAI and is a cofounder of the Bay Area Film Collective) casts the city as hideout rather than catalyst. Junho drinks and rages, his nights spent working in a taco truck and his days flashing back to the young woman he befriended but didn’t protect.\u003c/p>\n\u003cp>Counterintuitively, the meandering interior journey of \u003cem>Junho\u003c/em> entails more screen time than the globe-spanning saga of \u003cem>Snakehead\u003c/em>. Eventually it sinks in for Junho, by way of the shimmering but chilly views from the Embarcadero and the unwelcoming streets of recently developed SoMa: You can run but you can’t hide—from yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>CAAMFest 2021 runs May 13–23 with online and drive-in screenings. \u003ca href=\"https://caamfest.com/2021/\" 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>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>[aside postid='arts_13893446']“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>[aside postid='arts_13892207']“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\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=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\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=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Story of 'Sesame Street': From Radical Experiment to Beloved TV Mainstay",
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"content": "\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>[aside postid='arts_13895138']“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the interview.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rHtU7ZkTLyo\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Gringlas produced and Sarah Handel edited this story for broadcast.\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=The+Story+Of+%27Sesame+Street%27%3A+From+Radical+Experiment+To+Beloved+TV+Mainstay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the 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/rHtU7ZkTLyo'\n title='//www.youtube.com/embed/rHtU7ZkTLyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Gringlas produced and Sarah Handel edited this story for broadcast.\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=The+Story+Of+%27Sesame+Street%27%3A+From+Radical+Experiment+To+Beloved+TV+Mainstay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thirty years ago this month, \u003cem>Madonna: Truth or Dare\u003c/em> was released to much fanfare. The documentary—part concert movie, part backstage exposé—captured the singer’s 1990 Blond Ambition world tour. It would be the highest grossing documentary of all time for the next 12 years.\u003c/p>\n\u003cp>Today, \u003cem>Truth or Dare\u003c/em> stands as a feminist moment awkwardly sandwiched between its second and third waves. At the same time, the movie is probably most remembered for its strides toward gay visibility. The film presented Madonna’s touring crew as one big, (usually) happy family. And because all but one of her dancers were gay, same-sex relationships were presented in the film as just the same as everyone else’s. In 1991, in the midst of the AIDS crisis, the impact of that cannot be overstated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NSZeyJPQT2A\u003c/p>\n\u003cp>It wasn’t just Madonna’s relationships with her dancers, either. At one genuinely vulnerable point, she is seen dedicating a concert to \u003ca href=\"http://www.newnownext.com/keith-haring-birthday-60-madonna-brooke-shields/05/2018/\" target=\"_blank\" rel=\"noopener noreferrer\">her friend Keith Haring\u003c/a>, who had recently lost his life to AIDS-related complications. Later, we see her lunching with her friend Sandra Bernhard, as the two casually discuss the woman Bernhard is sleeping with.\u003c/p>\n\u003cp>As one of the biggest pop stars in the world at the time, Madonna’s example mattered. She knew it, and so did Alek Keshishian, her 26-year-old director. “I was in this bubble where that was just all accepted,” \u003ca href=\"https://www.nytimes.com/2016/08/26/arts/music/madonna-truth-or-dare-alek-keshishian.html\" target=\"_blank\" rel=\"noopener noreferrer\">Keshishian told the \u003cem>New York Times\u003c/em>\u003c/a> in 2016. “I felt instinctively that I wanted to get across how in Madonna’s world, homosexuality was just a fact of life. These dancers, who she felt so close to, they were going through that age of AIDS. There was still so much stigma against it. I felt personally the power of putting that out, but I had no idea that it might resonate with others quite the way it did.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>[aside postid='arts_13915838']That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>[aside postid='pop_112976']At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years ago this month, \u003cem>Madonna: Truth or Dare\u003c/em> was released to much fanfare. The documentary—part concert movie, part backstage exposé—captured the singer’s 1990 Blond Ambition world tour. It would be the highest grossing documentary of all time for the next 12 years.\u003c/p>\n\u003cp>Today, \u003cem>Truth or Dare\u003c/em> stands as a feminist moment awkwardly sandwiched between its second and third waves. At the same time, the movie is probably most remembered for its strides toward gay visibility. The film presented Madonna’s touring crew as one big, (usually) happy family. And because all but one of her dancers were gay, same-sex relationships were presented in the film as just the same as everyone else’s. In 1991, in the midst of the AIDS crisis, the impact of that cannot be overstated.\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/NSZeyJPQT2A'\n title='//www.youtube.com/embed/NSZeyJPQT2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t just Madonna’s relationships with her dancers, either. At one genuinely vulnerable point, she is seen dedicating a concert to \u003ca href=\"http://www.newnownext.com/keith-haring-birthday-60-madonna-brooke-shields/05/2018/\" target=\"_blank\" rel=\"noopener noreferrer\">her friend Keith Haring\u003c/a>, who had recently lost his life to AIDS-related complications. Later, we see her lunching with her friend Sandra Bernhard, as the two casually discuss the woman Bernhard is sleeping with.\u003c/p>\n\u003cp>As one of the biggest pop stars in the world at the time, Madonna’s example mattered. She knew it, and so did Alek Keshishian, her 26-year-old director. “I was in this bubble where that was just all accepted,” \u003ca href=\"https://www.nytimes.com/2016/08/26/arts/music/madonna-truth-or-dare-alek-keshishian.html\" target=\"_blank\" rel=\"noopener noreferrer\">Keshishian told the \u003cem>New York Times\u003c/em>\u003c/a> in 2016. “I felt instinctively that I wanted to get across how in Madonna’s world, homosexuality was just a fact of life. These dancers, who she felt so close to, they were going through that age of AIDS. There was still so much stigma against it. I felt personally the power of putting that out, but I had no idea that it might resonate with others quite the way it did.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.com/\" 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>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! This Must Be the Place. Right?",
"headTitle": "Now Playing! This Must Be the Place. Right? | KQED",
"content": "\u003cp>The choice of location and setting is an essential element of most movies, even leaving aside the multitude of flicks that unfold in any-old big city, generic suburb, lookalike apartment and anonymous hotel room. From a barren Scottish island to frenetic Paris to stripped-down Stockholm, the sites of this week’s picks are intertwined with their characters’ states of mind.\u003c/p>\n\u003cfigure id=\"attachment_13896621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg\" alt=\"A scene from 'Paris Calligrammes.'\" width=\"800\" height=\"580\" class=\"size-medium wp-image-13896621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Paris Calligrammes.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Paris Calligrammes\u003c/strong>\u003c/em> \u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://bampfa.org/event/paris-calligrammes\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA virtual screening room\u003c/a>\u003cbr>\nThe prolific German filmmaker, photographer and stage director Ulrike Ottinger has always been a seeker—of fellow artists, remote places and personal revelation. \u003cem>Paris Calligrammes\u003c/em>, slated to screen here a year ago as part of the COVID-cancelled SFFILM Festival, finds her buoyantly bringing to life a formative period in her artistic and personal development: Paris in the ’60s. An incredibly alive and pleasurable film, it marks a high point in the subgenre of first-person documentaries about impressionable youth.\u003c/p>\n\u003cp>Ottinger was just 20 when she lit out for Paris from her small rural town in 1962. Her Isetta microcar conked out en route, so she ditched it on the side of the road and hitchhiked the rest of the way. She gravitated to Saint-Germain-des-Prés, fell under the sway of German bookseller Fritz Picard, met a range of artists, began her career and rode the wave of political consciousness and social turmoil.\u003c/p>\n\u003cp>\u003cem>Paris Calligrammes\u003c/em> is utterly free of the off-putting cling of nostalgia, largely because Ottinger is far more interested in honoring and highlighting other people than in dominating the narrative. As a result, Ottinger’s erstwhile memoir works as both a record of a kinetic social history and as an inspiration to young artists seeking just such a scene today.\u003c/p>\n\u003cp>The film is part of an extensive BAMPFA retrospective, \u003ca href=\"https://bampfa.org/watch-from-home/east-meets-west-films-ulrike-ottinger\" rel=\"noopener noreferrer\" target=\"_blank\">East Meets West: The Films of Ulrike Ottinger\u003c/a>, which screens virtually in conjunction with a career-spanning exhibition of Ottinger’s photographs at the museum, which reopens Apr. 30.\u003c/p>\n\u003cfigure id=\"attachment_13896624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Limbo1-800x500.jpg\" alt=\"A scene from 'Limbo.'\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13896624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Limbo.’ \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Limbo\u003c/strong>\u003c/em>\u003cbr>\nOpens April 30\u003cbr>\nEmbarcadero Center Cinemas, Shattuck (Berkeley)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dramas about the refugee experience are usually, at their core, exercises in empathy, but writer-director Ben Sharrock achieves something far greater through a touching blend of slack-jawed absurdism, underplayed tragedy and well-played metaphors. While \u003cem>Limbo\u003c/em>, which received British Academy Award nominations for best film and best debut, refers most obviously to the months and months of suspended semi-animation that the film’s Middle Eastern and African characters endure awaiting the Scottish government’s dispensation of their requests for asylum, it also describes the disorienting period between the past (forever slipping through their fingers) and the unknowable future.\u003c/p>\n\u003cp>Culture shock is the least of the problems facing Syrian musician Omar (Amir El-Masry) and Afghan emigré Farhad (Vikram Bhai), part of a group of refugees stuck on a sparsely populated island with nothing to pass the time except role-play acculturation classes and \u003cem>Friends\u003c/em> episodes. (Sharrock supplies enough deadpan laughs to keep limbo from turning into hell.) Farhad is a loner with a secret passion for Freddie Mercury, while Omar endures guilt-rich conversations (via a phone booth in the middle of nowhere) with his parents in Turkey about his older brother in Syria, fighting with the opposition.\u003c/p>\n\u003cp>Everywhere he goes, Omar carries a cross in the form of his grandfather’s oud. The movie carries the weight of the metaphor to the breaking point—it’s hard to conceive of anything with less pragmatic value in this indifferent clime and place than an Arabic musical instrument—yet Sharrock manages to parlay the oud into a deeply moving expression of loyalty, friendship and love, as well as self-assertion and self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13896622\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/AboutEndlessness.jpg\" alt=\"A scene from 'About Endlessness.'\" width=\"750\" height=\"469\" class=\"size-full wp-image-13896622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness-160x100.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘About Endlessness.’ \u003ccite>(Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>About Endlessness\u003c/strong>\u003c/em>\u003cbr>\nOpens Apr. 30\u003cbr>\n\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>\u003c/p>\n\u003cp>The Swedish director Roy Andersson has been well-known in certain circles, locally and abroad, since his 2000 breakthrough, \u003cem>Songs from the Second Floor\u003c/em>. His style, on full view in the wonderful \u003cem>You, the Living\u003c/em> (2007) and, less successfully, \u003cem>A Pigeon Sat on A Branch Contemplating Existence\u003c/em> (2014), consists of a succession of mostly unrelated encounters between husbands and wives, doctors and patients, waiters and customers. They’re shot with a fixed camera set at the perfect distance from the characters to grant them their dignity (if not a total respite from embarrassment) and to relieve us from (most of) our discomfort.\u003c/p>\n\u003cp>Imagine \u003cem>New Yorker\u003c/em> cartoons without the captions, and you get an idea of Andersson’s surrealistically deadpan vignettes. They aren’t silent, to be sure, but they never pay off the way you’d expect. A man describes running into, and being ignored by, a person he hadn’t seen since school—and the incident repeats itself while he’s talking to us. (Andersson likes to knock down the fourth wall.)\u003c/p>\n\u003cp>\u003cem>About Endlessness\u003c/em> is, like Andersson’s other recent films, a grimly hilarious exposé of lives of quiet desperation that makes Stockholm look like a soundstage in a Samuel Beckett universe. But he also achieves moments of genuine pathos, notably via the recurring character of a pastor who, in one terrific sequence, plaintively repeats over and over, “What should I do now that I have lost my faith?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Improbably, that’s also the funniest scene in the movie. No words can convey its grim levity, any more than describing a Buster Keaton stunt can duplicate the effect of seeing it. Andersson thinks in cinema, as well as Nordic philosophy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The choice of location and setting is an essential element of most movies, even leaving aside the multitude of flicks that unfold in any-old big city, generic suburb, lookalike apartment and anonymous hotel room. From a barren Scottish island to frenetic Paris to stripped-down Stockholm, the sites of this week’s picks are intertwined with their characters’ states of mind.\u003c/p>\n\u003cfigure id=\"attachment_13896621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg\" alt=\"A scene from 'Paris Calligrammes.'\" width=\"800\" height=\"580\" class=\"size-medium wp-image-13896621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Paris Calligrammes.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Paris Calligrammes\u003c/strong>\u003c/em> \u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://bampfa.org/event/paris-calligrammes\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA virtual screening room\u003c/a>\u003cbr>\nThe prolific German filmmaker, photographer and stage director Ulrike Ottinger has always been a seeker—of fellow artists, remote places and personal revelation. \u003cem>Paris Calligrammes\u003c/em>, slated to screen here a year ago as part of the COVID-cancelled SFFILM Festival, finds her buoyantly bringing to life a formative period in her artistic and personal development: Paris in the ’60s. An incredibly alive and pleasurable film, it marks a high point in the subgenre of first-person documentaries about impressionable youth.\u003c/p>\n\u003cp>Ottinger was just 20 when she lit out for Paris from her small rural town in 1962. Her Isetta microcar conked out en route, so she ditched it on the side of the road and hitchhiked the rest of the way. She gravitated to Saint-Germain-des-Prés, fell under the sway of German bookseller Fritz Picard, met a range of artists, began her career and rode the wave of political consciousness and social turmoil.\u003c/p>\n\u003cp>\u003cem>Paris Calligrammes\u003c/em> is utterly free of the off-putting cling of nostalgia, largely because Ottinger is far more interested in honoring and highlighting other people than in dominating the narrative. As a result, Ottinger’s erstwhile memoir works as both a record of a kinetic social history and as an inspiration to young artists seeking just such a scene today.\u003c/p>\n\u003cp>The film is part of an extensive BAMPFA retrospective, \u003ca href=\"https://bampfa.org/watch-from-home/east-meets-west-films-ulrike-ottinger\" rel=\"noopener noreferrer\" target=\"_blank\">East Meets West: The Films of Ulrike Ottinger\u003c/a>, which screens virtually in conjunction with a career-spanning exhibition of Ottinger’s photographs at the museum, which reopens Apr. 30.\u003c/p>\n\u003cfigure id=\"attachment_13896624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Limbo1-800x500.jpg\" alt=\"A scene from 'Limbo.'\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13896624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Limbo.’ \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Limbo\u003c/strong>\u003c/em>\u003cbr>\nOpens April 30\u003cbr>\nEmbarcadero Center Cinemas, Shattuck (Berkeley)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dramas about the refugee experience are usually, at their core, exercises in empathy, but writer-director Ben Sharrock achieves something far greater through a touching blend of slack-jawed absurdism, underplayed tragedy and well-played metaphors. While \u003cem>Limbo\u003c/em>, which received British Academy Award nominations for best film and best debut, refers most obviously to the months and months of suspended semi-animation that the film’s Middle Eastern and African characters endure awaiting the Scottish government’s dispensation of their requests for asylum, it also describes the disorienting period between the past (forever slipping through their fingers) and the unknowable future.\u003c/p>\n\u003cp>Culture shock is the least of the problems facing Syrian musician Omar (Amir El-Masry) and Afghan emigré Farhad (Vikram Bhai), part of a group of refugees stuck on a sparsely populated island with nothing to pass the time except role-play acculturation classes and \u003cem>Friends\u003c/em> episodes. (Sharrock supplies enough deadpan laughs to keep limbo from turning into hell.) Farhad is a loner with a secret passion for Freddie Mercury, while Omar endures guilt-rich conversations (via a phone booth in the middle of nowhere) with his parents in Turkey about his older brother in Syria, fighting with the opposition.\u003c/p>\n\u003cp>Everywhere he goes, Omar carries a cross in the form of his grandfather’s oud. The movie carries the weight of the metaphor to the breaking point—it’s hard to conceive of anything with less pragmatic value in this indifferent clime and place than an Arabic musical instrument—yet Sharrock manages to parlay the oud into a deeply moving expression of loyalty, friendship and love, as well as self-assertion and self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13896622\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/AboutEndlessness.jpg\" alt=\"A scene from 'About Endlessness.'\" width=\"750\" height=\"469\" class=\"size-full wp-image-13896622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness-160x100.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘About Endlessness.’ \u003ccite>(Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>About Endlessness\u003c/strong>\u003c/em>\u003cbr>\nOpens Apr. 30\u003cbr>\n\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>\u003c/p>\n\u003cp>The Swedish director Roy Andersson has been well-known in certain circles, locally and abroad, since his 2000 breakthrough, \u003cem>Songs from the Second Floor\u003c/em>. His style, on full view in the wonderful \u003cem>You, the Living\u003c/em> (2007) and, less successfully, \u003cem>A Pigeon Sat on A Branch Contemplating Existence\u003c/em> (2014), consists of a succession of mostly unrelated encounters between husbands and wives, doctors and patients, waiters and customers. They’re shot with a fixed camera set at the perfect distance from the characters to grant them their dignity (if not a total respite from embarrassment) and to relieve us from (most of) our discomfort.\u003c/p>\n\u003cp>Imagine \u003cem>New Yorker\u003c/em> cartoons without the captions, and you get an idea of Andersson’s surrealistically deadpan vignettes. They aren’t silent, to be sure, but they never pay off the way you’d expect. A man describes running into, and being ignored by, a person he hadn’t seen since school—and the incident repeats itself while he’s talking to us. (Andersson likes to knock down the fourth wall.)\u003c/p>\n\u003cp>\u003cem>About Endlessness\u003c/em> is, like Andersson’s other recent films, a grimly hilarious exposé of lives of quiet desperation that makes Stockholm look like a soundstage in a Samuel Beckett universe. But he also achieves moments of genuine pathos, notably via the recurring character of a pastor who, in one terrific sequence, plaintively repeats over and over, “What should I do now that I have lost my faith?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Improbably, that’s also the funniest scene in the movie. No words can convey its grim levity, any more than describing a Buster Keaton stunt can duplicate the effect of seeing it. Andersson thinks in cinema, as well as Nordic philosophy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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