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"content": "\u003cp>The studios postponed the vast majority of their 2020 releases to 2021 in order to maximize box office revenue, and in so doing largely abandoned this year’s Oscar statuettes to the independents. There are many ways to define “independent,” of course, and in normal times very few of them translate to movies with unhurried narratives and without matinee idols—like \u003cem>First Cow\u003c/em> and \u003cem>Nomadland\u003c/em>—on the dais reaping the big end-of-ceremony awards. So let’s celebrate the independents.\u003c/p>\n\u003cp>\u003cstrong>SF Indiefest \u003c/strong>\u003cbr>\nFeb. 4–21\u003cbr>\n\u003ca href=\"https://sfindiefest2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>Now in its 23rd edition, SF Indiefest started before the digital revolution removed the barriers to feature filmmaking. In those days, there were far more weirder, grittier films and far fewer sophisticated, polished films. The festival’s current programmers are gatekeepers in the best sense, in that they’re acutely sensitive to the soul-deadening effects of the gentrification of indie film. In other words, SF Indiefest retains its edge.\u003c/p>\n\u003cp>Take \u003cem>Girl in Golden Gate Park\u003c/em>, S.F. writer-director JP Allen’s scintillating puzzle film and one of three world premieres in the festival. Two Asian American women (Kim Jiang Dubaniewicz and Erin Mae-Ling Stuart) with trust issues cross paths in and around the titular urban refuge, where the scenery (and Daniel Teixeira-Gomes’ lush cinematography) provides camouflage and cover. Allen makes enigmas wrapped in mysteries, with every frame a clue and a handful (don’t blink!) providing answers. The title is both.\u003c/p>\n\u003cp>Allen, like every other Indiefest filmmaker, anticipates audiences experiencing his film on the big screen not too far down the road. I’ll wait til then to say more about \u003cem>Girl in Golden Gate Park\u003c/em>, but don’t deny yourself the movie’s pleasures now.\u003c/p>\n\u003cfigure id=\"attachment_13892284\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Una-Great-STILL.jpg\" alt=\"\" width=\"1024\" height=\"684\" class=\"size-full wp-image-13892284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-768x513.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Una Great Movie.’ \u003ccite>(Courtesy of SF Indiefest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>L.A. multi-hyphenate Jennifer Sharp delivers a delicious takedown of Hollywood and some unexpected south-of-the-border social commentary with \u003cem>Una Great Movie\u003c/em>, a seriocomic riff on the conflict between authentic and commercial storytelling. A Black screenwriter trying to break into the business is overwhelmed by conflicting advice on how to “improve” her screenplay in order to sell it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The heart of the film, though is the story on the page—a Black woman goes to Mexico to find an old flame, accompanied by a female friend—which comes to life as a movie within the movie. The accomplishment of \u003cem>Una Great Movie\u003c/em> isn’t its familiar (though funny) digs at the movie business’ fickleness and superficiality, but how the viewer is instantly entwined in the “fictional” story every time Sharp cuts back to Mexico. Somebody give Jennifer Sharp a greenlight on her next script or, better yet, a TV show about a Black woman working at a major studio, now.\u003c/p>\n\u003cp>Indiefest programmers look beyond California, of course, and even include several features from outside the U.S. But if your interest is Bay Area filmmakers and/or Bay Area stories, there’s plenty to check out. Oakland filmmaker Rodrigo Reyes is feted with the Vanguard Award and the inclusion of his documentary/fiction saga \u003cem>499\u003c/em>, which takes us on a historical tour of the exploitation of Mexico up to the present with a 16th-century conquistador as our guide. \u003c/p>\n\u003cfigure id=\"attachment_13892285\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/499_STILL.jpeg\" alt=\"\" width=\"664\" height=\"374\" class=\"size-full wp-image-13892285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/499_STILL.jpeg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/499_STILL-160x90.jpeg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘499.’ \u003ccite>(Courtesy of SF Indiefest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twenty years after Irving Norman’s death, Ray Day of Half Moon Bay examines the life and legacy of the overlooked Western Addition artist in his wonderfully titled documentary, \u003cem>Truth Be Told: Irving Norman and the Human Predicament\u003c/em>. Dr. Jill Cornell Tarter, the Berkeley astronomer perennially trying to detect extraterrestrials (and the model for Jodie Foster’s character in \u003cem>Contact\u003c/em>) is one of the long-term visionaries profiled in David Licata’s \u003cem>A Life’s Work\u003c/em>. San Franciscan and MSNBC anchor Richard Liu’s \u003cem>Sky Blossom: Diaries of the Next Greatest Generation\u003c/em> spotlights another group toiling out of sight, the many young people serving as caregivers to veterans and service members.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My standard festival advice holds for the SF Indiefest program: Pick something, anything, that sounds intriguing, and go with it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The studios postponed the vast majority of their 2020 releases to 2021 in order to maximize box office revenue, and in so doing largely abandoned this year’s Oscar statuettes to the independents. There are many ways to define “independent,” of course, and in normal times very few of them translate to movies with unhurried narratives and without matinee idols—like \u003cem>First Cow\u003c/em> and \u003cem>Nomadland\u003c/em>—on the dais reaping the big end-of-ceremony awards. So let’s celebrate the independents.\u003c/p>\n\u003cp>\u003cstrong>SF Indiefest \u003c/strong>\u003cbr>\nFeb. 4–21\u003cbr>\n\u003ca href=\"https://sfindiefest2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>Now in its 23rd edition, SF Indiefest started before the digital revolution removed the barriers to feature filmmaking. In those days, there were far more weirder, grittier films and far fewer sophisticated, polished films. The festival’s current programmers are gatekeepers in the best sense, in that they’re acutely sensitive to the soul-deadening effects of the gentrification of indie film. In other words, SF Indiefest retains its edge.\u003c/p>\n\u003cp>Take \u003cem>Girl in Golden Gate Park\u003c/em>, S.F. writer-director JP Allen’s scintillating puzzle film and one of three world premieres in the festival. Two Asian American women (Kim Jiang Dubaniewicz and Erin Mae-Ling Stuart) with trust issues cross paths in and around the titular urban refuge, where the scenery (and Daniel Teixeira-Gomes’ lush cinematography) provides camouflage and cover. Allen makes enigmas wrapped in mysteries, with every frame a clue and a handful (don’t blink!) providing answers. The title is both.\u003c/p>\n\u003cp>Allen, like every other Indiefest filmmaker, anticipates audiences experiencing his film on the big screen not too far down the road. I’ll wait til then to say more about \u003cem>Girl in Golden Gate Park\u003c/em>, but don’t deny yourself the movie’s pleasures now.\u003c/p>\n\u003cfigure id=\"attachment_13892284\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Una-Great-STILL.jpg\" alt=\"\" width=\"1024\" height=\"684\" class=\"size-full wp-image-13892284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Una-Great-STILL-768x513.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Una Great Movie.’ \u003ccite>(Courtesy of SF Indiefest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>L.A. multi-hyphenate Jennifer Sharp delivers a delicious takedown of Hollywood and some unexpected south-of-the-border social commentary with \u003cem>Una Great Movie\u003c/em>, a seriocomic riff on the conflict between authentic and commercial storytelling. A Black screenwriter trying to break into the business is overwhelmed by conflicting advice on how to “improve” her screenplay in order to sell it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The heart of the film, though is the story on the page—a Black woman goes to Mexico to find an old flame, accompanied by a female friend—which comes to life as a movie within the movie. The accomplishment of \u003cem>Una Great Movie\u003c/em> isn’t its familiar (though funny) digs at the movie business’ fickleness and superficiality, but how the viewer is instantly entwined in the “fictional” story every time Sharp cuts back to Mexico. Somebody give Jennifer Sharp a greenlight on her next script or, better yet, a TV show about a Black woman working at a major studio, now.\u003c/p>\n\u003cp>Indiefest programmers look beyond California, of course, and even include several features from outside the U.S. But if your interest is Bay Area filmmakers and/or Bay Area stories, there’s plenty to check out. Oakland filmmaker Rodrigo Reyes is feted with the Vanguard Award and the inclusion of his documentary/fiction saga \u003cem>499\u003c/em>, which takes us on a historical tour of the exploitation of Mexico up to the present with a 16th-century conquistador as our guide. \u003c/p>\n\u003cfigure id=\"attachment_13892285\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/499_STILL.jpeg\" alt=\"\" width=\"664\" height=\"374\" class=\"size-full wp-image-13892285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/499_STILL.jpeg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/499_STILL-160x90.jpeg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘499.’ \u003ccite>(Courtesy of SF Indiefest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twenty years after Irving Norman’s death, Ray Day of Half Moon Bay examines the life and legacy of the overlooked Western Addition artist in his wonderfully titled documentary, \u003cem>Truth Be Told: Irving Norman and the Human Predicament\u003c/em>. Dr. Jill Cornell Tarter, the Berkeley astronomer perennially trying to detect extraterrestrials (and the model for Jodie Foster’s character in \u003cem>Contact\u003c/em>) is one of the long-term visionaries profiled in David Licata’s \u003cem>A Life’s Work\u003c/em>. San Franciscan and MSNBC anchor Richard Liu’s \u003cem>Sky Blossom: Diaries of the Next Greatest Generation\u003c/em> spotlights another group toiling out of sight, the many young people serving as caregivers to veterans and service members.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My standard festival advice holds for the SF Indiefest program: Pick something, anything, that sounds intriguing, and go with it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. [aside postid='arts_13824541']\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometimes that’s sex, sometimes it’s a day without gunfire and sometimes it’s an overdue overturning of the traditional, unjust status quo. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Romantic Chorus\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://romanticchorus.com\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>Since Christmas season begins the day after Thanksgiving, we can consider Jeff Giordano’s irresistible feature-length animated film as the kickoff for Valentine’s Day. As its title suggests, Giordano collected audio interviews with a range of smart, self-aware and anonymous Bay Area—and beyond, perhaps—folks all over the sexuality and gender continuum. Does anyone get tired of hearing other people’s sexual experiences, dating philosophies and intimate journeys? Right. Like I said, irresistible.\u003c/p>\n\u003cp>\u003cem>Romantic Chorus\u003c/em> is best watched with a partner and the remote, pausing periodically to discuss the direct relevance of, say, a given speaker’s evolving attitude toward bisexuality. But the pleasure of the film extends beyond the pithy talk, which Gioridano loosely organizes around the inevitably overlapping subjects of sex, monogamy, fear and technology.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of using a single animation approach, Giordano enlisted a stable of artists from around the world. A different animation style is applied to each interview subject, encompassing hand-drawn figures, photo rotoscoping and abstract computer graphics. Consequently, \u003cem>Romantic Chorus\u003c/em> plays more like a shorts program than a feature film at times, which has its own charms. All in all, though, it’s a deceptively serious film designed to spark conversation and, perhaps, make-out sessions.\u003c/p>\n\u003cfigure id=\"attachment_13892097\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell%E2%80%99Isis-%E2%80%93-prigionieri-nel-carcere-curdo-in-Siria_1200.jpg\" alt=\"\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13892097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Notturno.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Notturno\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/notturno/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/notturno/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a> (Smith Rafael Film Center), Hulu\u003c/p>\n\u003cp>Gianfranco Rosi’s widely seen and admired \u003cem>Fire at Sea\u003c/em> (2016), a shattering look of the plight of refugees at sea and their rescuers filmed on the Mediterranean island of Lampedusa, was strewn with dramatic, high-pitched scenes. His follow-up, \u003cem>Notturno\u003c/em>, is a much quieter and more oblique work that evokes torments past and hints at tragedies to come.\u003c/p>\n\u003cp>Rosi makes observational films devoid of narration or interviews, so it’s on the viewer to discern and interpret the connections between soldiers and civilians, destruction and healing. These are the images that emerge from his calm, steady accretion of landscapes (such as military outposts with a handful of conscripts) and close-ups (of the recuperating residents of a psychiatric ward, who are staging a play). \u003cem>Notturno\u003c/em>, which Rosi shot in the adjoining countries of Iraq, Kurdistan, Syria and Lebanon, is explicitly an art documentary and not a work of journalism or activism.\u003c/p>\n\u003cp>As such, this melancholy film provides an enigmatic glimpse of places and an experience of peoples we would not encounter without Rosi’s intrepid commitment. Needless to say, \u003cem>Notturno\u003c/em> is not a film to be watched with remote in hand.\u003c/p>\n\u003cfigure id=\"attachment_13892098\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/La-Llorona-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13892098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘La Llorona.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>For Your Consideration: A Celebration of World Cinema\u003c/strong>\u003c/a>\u003cbr>\nThrough Feb. 11\u003cbr>\nRafael@Home (Smith Rafael Film Center)\u003c/p>\n\u003cp>The Academy Awards, in their infinite and ever-changing wisdom, changed the Best Foreign Language Feature Oscar to Best International Feature Film in 2019. As it happened, \u003cem>Parasite\u003c/em> came along and swept up all the top trophies the very next year.\u003c/p>\n\u003cp>For many years, the Smith Rafael Film Center has presented a series culled from the official submissions in this category, including several that didn’t have U.S. theatrical distribution. This year’s lineup—perhaps because it’s online due to the pandemic—goes further: The program is larger than ever and includes works from countries whose filmmakers we never hear about, such as Tunisia, Peru and Greece.\u003c/p>\n\u003cp>As rarities go, it’s hard to top a black-and-white film from Saudi Arabia written and directed by a woman. Shahad Ameen’s feature debut, \u003cem>Scales\u003c/em>, centers on a fierce girl who grows up scorned because her father defied their fishing village’s traditional sacrifice of a daughter to the sea. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes that’s sex, sometimes it’s a day without gunfire and sometimes it’s an overdue overturning of the traditional, unjust status quo. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Romantic Chorus\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://romanticchorus.com\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>Since Christmas season begins the day after Thanksgiving, we can consider Jeff Giordano’s irresistible feature-length animated film as the kickoff for Valentine’s Day. As its title suggests, Giordano collected audio interviews with a range of smart, self-aware and anonymous Bay Area—and beyond, perhaps—folks all over the sexuality and gender continuum. Does anyone get tired of hearing other people’s sexual experiences, dating philosophies and intimate journeys? Right. Like I said, irresistible.\u003c/p>\n\u003cp>\u003cem>Romantic Chorus\u003c/em> is best watched with a partner and the remote, pausing periodically to discuss the direct relevance of, say, a given speaker’s evolving attitude toward bisexuality. But the pleasure of the film extends beyond the pithy talk, which Gioridano loosely organizes around the inevitably overlapping subjects of sex, monogamy, fear and technology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead of using a single animation approach, Giordano enlisted a stable of artists from around the world. A different animation style is applied to each interview subject, encompassing hand-drawn figures, photo rotoscoping and abstract computer graphics. Consequently, \u003cem>Romantic Chorus\u003c/em> plays more like a shorts program than a feature film at times, which has its own charms. All in all, though, it’s a deceptively serious film designed to spark conversation and, perhaps, make-out sessions.\u003c/p>\n\u003cfigure id=\"attachment_13892097\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell%E2%80%99Isis-%E2%80%93-prigionieri-nel-carcere-curdo-in-Siria_1200.jpg\" alt=\"\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13892097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/4.Notturno_a-film_by_Gianfranco-Rosi_4.-Ex-combattenti-dell’Isis-–-prigionieri-nel-carcere-curdo-in-Siria_1200-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Notturno.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Notturno\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/notturno/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/notturno/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a> (Smith Rafael Film Center), Hulu\u003c/p>\n\u003cp>Gianfranco Rosi’s widely seen and admired \u003cem>Fire at Sea\u003c/em> (2016), a shattering look of the plight of refugees at sea and their rescuers filmed on the Mediterranean island of Lampedusa, was strewn with dramatic, high-pitched scenes. His follow-up, \u003cem>Notturno\u003c/em>, is a much quieter and more oblique work that evokes torments past and hints at tragedies to come.\u003c/p>\n\u003cp>Rosi makes observational films devoid of narration or interviews, so it’s on the viewer to discern and interpret the connections between soldiers and civilians, destruction and healing. These are the images that emerge from his calm, steady accretion of landscapes (such as military outposts with a handful of conscripts) and close-ups (of the recuperating residents of a psychiatric ward, who are staging a play). \u003cem>Notturno\u003c/em>, which Rosi shot in the adjoining countries of Iraq, Kurdistan, Syria and Lebanon, is explicitly an art documentary and not a work of journalism or activism.\u003c/p>\n\u003cp>As such, this melancholy film provides an enigmatic glimpse of places and an experience of peoples we would not encounter without Rosi’s intrepid commitment. Needless to say, \u003cem>Notturno\u003c/em> is not a film to be watched with remote in hand.\u003c/p>\n\u003cfigure id=\"attachment_13892098\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/La-Llorona-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13892098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/La-Llorona-3_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘La Llorona.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>For Your Consideration: A Celebration of World Cinema\u003c/strong>\u003c/a>\u003cbr>\nThrough Feb. 11\u003cbr>\nRafael@Home (Smith Rafael Film Center)\u003c/p>\n\u003cp>The Academy Awards, in their infinite and ever-changing wisdom, changed the Best Foreign Language Feature Oscar to Best International Feature Film in 2019. As it happened, \u003cem>Parasite\u003c/em> came along and swept up all the top trophies the very next year.\u003c/p>\n\u003cp>For many years, the Smith Rafael Film Center has presented a series culled from the official submissions in this category, including several that didn’t have U.S. theatrical distribution. This year’s lineup—perhaps because it’s online due to the pandemic—goes further: The program is larger than ever and includes works from countries whose filmmakers we never hear about, such as Tunisia, Peru and Greece.\u003c/p>\n\u003cp>As rarities go, it’s hard to top a black-and-white film from Saudi Arabia written and directed by a woman. Shahad Ameen’s feature debut, \u003cem>Scales\u003c/em>, centers on a fierce girl who grows up scorned because her father defied their fishing village’s traditional sacrifice of a daughter to the sea. 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"title": "'The Little Things' is a Star-Studded, Old-School Serial Killer Thriller",
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"content": "\u003cp>It’s been a while since I’ve seen a new studio picture like \u003cem>The Little Things—\u003c/em>a big, meaty, slickly made crime drama featuring a trio of Academy Award winners. That’s partly due to COVID-19, which caused theaters to close 10 months ago and led the studios to postpone some of their biggest titles. But even if there weren’t a pandemic and \u003cem>The Little Things \u003c/em>had been widely released in theaters as planned, it might still have played like a relic from an earlier moviemaking decade.\u003c/p>\n\u003cp>That’s exactly what it is. The ’90s were something of a renaissance era for serial-killer movies, and the director, John Lee Hancock, wrote this script back in 1993, two years after \u003ca href=\"https://www.npr.org/2017/04/26/525716786/jonathan-demme-and-the-simple-power-of-the-close-up\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Silence of the Lambs\u003c/em>\u003c/a> and two years before \u003ca href=\"https://www.npr.org/2014/10/02/353017242/david-fincher-talks-gone-girl-avoids-spoilers-hooray\" target=\"_blank\" rel=\"noopener noreferrer\">David Fincher\u003c/a>‘s notorious shocker \u003cem>Se7en\u003c/em>.\u003c/p>\n\u003cp>It’s interesting to think how \u003cem>The Little Things\u003c/em> might have fit into the genre if it had been made back then. But for various reasons, even though Steven Spielberg and Clint Eastwood both considered directing it, the movie never got off the ground. It was revived only a few years ago, now with Hancock in the director’s chair. He appears to have made few changes to his script, which is still set in the ’90s, probably because so much of the story depends on pay phones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17780245\" target=\"_blank\" rel=\"noopener noreferrer\">Denzel Washington\u003c/a> plays Joe Deacon, also known as Deke, a former Los Angeles detective who now works as a sheriff’s deputy in Bakersfield. But on a work-related trip down to L.A., he meets up with his old friends on the force and gets pulled into a major case. His unlikely partner is a young hotshot named Jim Baxter, played by \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener noreferrer\">Rami Malek\u003c/a>. In typical buddy-cop fashion, they get off on the wrong foot but soon settle into a comfortable groove, with Deke playing the grizzled mentor to Baxter’s ambitious up-and-comer. [aside postid='arts_13865555']\u003c/p>\n\u003cp>They’re trying to solve the murders of several young women, the latest of whom has been found in a run-down flophouse—one of many reminders here of an older, less gentrified Los Angeles. The police make a thorough sweep of the scene, but it’s Deke who finds the evidence that leads them to a repairman, Albert Sparma, who becomes their prime suspect. He’s played by \u003ca href=\"https://www.npr.org/2013/10/31/241428346/jared-leto-was-seduced-by-role-of-rayon-in-buyers-club\" target=\"_blank\" rel=\"noopener noreferrer\">Jared Leto\u003c/a>, who sports long, stringy hair and a prosthetic nose, and who gives a performance of such calculated creepiness, he might as well be wearing an “Arrest Me” sign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1HZAnkxdYuA\u003c/p>\n\u003cp>But while Sparma may look like their man, Deke and Baxter have a hard time finding the evidence that would prove it. It’s never clear if Sparma is the culprit or just a true-crime buff who enjoys toying with the police. Over time, the uncertainty begins to eat away at Baxter—in much the same way it once ate away at Deke, who left the LAPD years ago after another unsolved case nearly drove him mad. If \u003cem>The Little Things\u003c/em> has an obvious kinship with \u003cem>Se7en\u003c/em>, it also seems to anticipate another David Fincher triumph, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7687059\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zodiac\u003c/em>\u003c/a>, in which a criminal investigation becomes a corrosive personal obsession.\u003c/p>\n\u003cp>The script has its creaky, tin-eared moments. I could have done with fewer of Deke and Baxter’s strained wisecracks, and there’s something a little obvious about their gradual realization of how similar they are under the skin. The forensic details are as familiar as they are gruesome: You’ve seen it all before, from the blood-spattered crime scenes and nude corpses on autopsy tables to the wall of evidence covered with maps and photos.\u003c/p>\n\u003cp>But it’s worth remembering that Hancock conceived this story nearly 30 years ago, when these images weren’t the clichés they are now. \u003cem>The Little Things\u003c/em> may look like a retread, but it feels more like a time capsule, a weirdly enveloping trip down memory lane. I got wrapped up in its slowly unraveling twists, and in the rapport between the two leads; Washington is all too convincing as a dogged crime solver who isn’t afraid to go rogue when needed. He’s also one of the few movie stars, of course, who’s as popular now as he was in the ’90s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hancock himself has come a long way since then; he has a sturdy command of craft, as he’s demonstrated in the other movies he’s directed, like \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=120456017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Blind Side\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2013/12/12/249779989/making-mary-poppins-with-more-than-a-spoonful-of-sugar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saving Mr. Banks\u003c/em>\u003c/a>. \u003cem>The Little Things\u003c/em> tells a much darker story, but Hancock proves a better fit than you might think. He’s good at quickening your pulse, and his attention to details—the “little things” of the title—slowly draws you in. There’s nothing comforting about this grim, existentially unsettling movie, but its patient, old-school pleasures provide their own kind of satisfaction.\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=%27The+Little+Things%27+Is+A+Star-Studded%2C+Old-School+Serial+Killer+Thriller+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a while since I’ve seen a new studio picture like \u003cem>The Little Things—\u003c/em>a big, meaty, slickly made crime drama featuring a trio of Academy Award winners. That’s partly due to COVID-19, which caused theaters to close 10 months ago and led the studios to postpone some of their biggest titles. But even if there weren’t a pandemic and \u003cem>The Little Things \u003c/em>had been widely released in theaters as planned, it might still have played like a relic from an earlier moviemaking decade.\u003c/p>\n\u003cp>That’s exactly what it is. The ’90s were something of a renaissance era for serial-killer movies, and the director, John Lee Hancock, wrote this script back in 1993, two years after \u003ca href=\"https://www.npr.org/2017/04/26/525716786/jonathan-demme-and-the-simple-power-of-the-close-up\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Silence of the Lambs\u003c/em>\u003c/a> and two years before \u003ca href=\"https://www.npr.org/2014/10/02/353017242/david-fincher-talks-gone-girl-avoids-spoilers-hooray\" target=\"_blank\" rel=\"noopener noreferrer\">David Fincher\u003c/a>‘s notorious shocker \u003cem>Se7en\u003c/em>.\u003c/p>\n\u003cp>It’s interesting to think how \u003cem>The Little Things\u003c/em> might have fit into the genre if it had been made back then. But for various reasons, even though Steven Spielberg and Clint Eastwood both considered directing it, the movie never got off the ground. It was revived only a few years ago, now with Hancock in the director’s chair. He appears to have made few changes to his script, which is still set in the ’90s, probably because so much of the story depends on pay phones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17780245\" target=\"_blank\" rel=\"noopener noreferrer\">Denzel Washington\u003c/a> plays Joe Deacon, also known as Deke, a former Los Angeles detective who now works as a sheriff’s deputy in Bakersfield. But on a work-related trip down to L.A., he meets up with his old friends on the force and gets pulled into a major case. His unlikely partner is a young hotshot named Jim Baxter, played by \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener noreferrer\">Rami Malek\u003c/a>. In typical buddy-cop fashion, they get off on the wrong foot but soon settle into a comfortable groove, with Deke playing the grizzled mentor to Baxter’s ambitious up-and-comer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re trying to solve the murders of several young women, the latest of whom has been found in a run-down flophouse—one of many reminders here of an older, less gentrified Los Angeles. The police make a thorough sweep of the scene, but it’s Deke who finds the evidence that leads them to a repairman, Albert Sparma, who becomes their prime suspect. He’s played by \u003ca href=\"https://www.npr.org/2013/10/31/241428346/jared-leto-was-seduced-by-role-of-rayon-in-buyers-club\" target=\"_blank\" rel=\"noopener noreferrer\">Jared Leto\u003c/a>, who sports long, stringy hair and a prosthetic nose, and who gives a performance of such calculated creepiness, he might as well be wearing an “Arrest Me” sign.\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/1HZAnkxdYuA'\n title='//www.youtube.com/embed/1HZAnkxdYuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But while Sparma may look like their man, Deke and Baxter have a hard time finding the evidence that would prove it. It’s never clear if Sparma is the culprit or just a true-crime buff who enjoys toying with the police. Over time, the uncertainty begins to eat away at Baxter—in much the same way it once ate away at Deke, who left the LAPD years ago after another unsolved case nearly drove him mad. If \u003cem>The Little Things\u003c/em> has an obvious kinship with \u003cem>Se7en\u003c/em>, it also seems to anticipate another David Fincher triumph, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7687059\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zodiac\u003c/em>\u003c/a>, in which a criminal investigation becomes a corrosive personal obsession.\u003c/p>\n\u003cp>The script has its creaky, tin-eared moments. I could have done with fewer of Deke and Baxter’s strained wisecracks, and there’s something a little obvious about their gradual realization of how similar they are under the skin. The forensic details are as familiar as they are gruesome: You’ve seen it all before, from the blood-spattered crime scenes and nude corpses on autopsy tables to the wall of evidence covered with maps and photos.\u003c/p>\n\u003cp>But it’s worth remembering that Hancock conceived this story nearly 30 years ago, when these images weren’t the clichés they are now. \u003cem>The Little Things\u003c/em> may look like a retread, but it feels more like a time capsule, a weirdly enveloping trip down memory lane. I got wrapped up in its slowly unraveling twists, and in the rapport between the two leads; Washington is all too convincing as a dogged crime solver who isn’t afraid to go rogue when needed. He’s also one of the few movie stars, of course, who’s as popular now as he was in the ’90s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hancock himself has come a long way since then; he has a sturdy command of craft, as he’s demonstrated in the other movies he’s directed, like \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=120456017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Blind Side\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2013/12/12/249779989/making-mary-poppins-with-more-than-a-spoonful-of-sugar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saving Mr. Banks\u003c/em>\u003c/a>. \u003cem>The Little Things\u003c/em> tells a much darker story, but Hancock proves a better fit than you might think. He’s good at quickening your pulse, and his attention to details—the “little things” of the title—slowly draws you in. There’s nothing comforting about this grim, existentially unsettling movie, but its patient, old-school pleasures provide their own kind of satisfaction.\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=%27The+Little+Things%27+Is+A+Star-Studded%2C+Old-School+Serial+Killer+Thriller+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lowell High School Doc Premieres at Sundance While Campus Reels from Racist Incident",
"headTitle": "Lowell High School Doc Premieres at Sundance While Campus Reels from Racist Incident | KQED",
"content": "\u003cp>Bay Area filmmaker \u003ca href=\"https://www.imdb.com/name/nm0525818/\" target=\"_blank\" rel=\"noopener noreferrer\">Debbie Lum\u003c/a>’s new documentary \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder!\u003c/em>\u003c/a> begins by underscoring popular beliefs about \u003ca href=\"https://www.sfusd.edu/school/lowell-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Lowell High School\u003c/a>:\u003c/p>\n\u003cp>The nationally ranked San Francisco public high school is highly competitive (“Lowell is the ultimate self-confidence crusher!”); the students are excellent at multitasking (“I’m the captain of the tennis team. I’m also co-president of Lowell BuildOn, vice president of Girls who Code and the editor of the school newspaper too!”); and the majority are Asian American (“My friend, he said, ‘Oh, you go to an Asian Excellency School!’”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSA6-fDXxqc\u003c/p>\n\u003cp>But Lum is interested in digging beneath the stereotypes with her documentary—especially when it comes to race.\u003c/p>\n\u003cp>\u003cem>Try Harder!\u003c/em> shows the pressures facing a group of high-achieving seniors at Lowell as they strive to get accepted at top universities. The \u003ca href=\"https://www.eventbrite.com/e/2021-sundance-film-festival-try-harder-tickets-135708209909\" target=\"_blank\" rel=\"noopener noreferrer\">world premiere\u003c/a> of the movie at the \u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> this weekend comes as the school is reeling from the latest in a string of racist incidents on campus.\u003c/p>\n\u003cp>“My film explores what it means to be stuck in boxes, especially along the lines of racial identity and how that impacts the college application process,” Lum says in an online interview with KQED.\u003c/p>\n\u003cp>In the movie, teacher Scott Dickerman tries to encourage students to look beyond the Ivy League, because of allegations against some elite schools, like Harvard, of discriminating against Asian American applicants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even if you are a student who should be accepted at a school like this, you may not get in anyway,” Dickerman says. “And that in many cases has to do with a little thing called ethnicity.”\u003c/p>\n\u003cp>According to \u003ca href=\"https://dq.cde.ca.gov/dataquest/dqcensus/EnrEthLevels.aspx?cds=38684783833407&agglevel=school&year=2019-20\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Unified School District data\u003c/a> for the 2019–2020 academic year, more than 50% of Lowell students identify as Asian American—almost double the average for San Francisco public schools.\u003c/p>\n\u003cp>Meanwhile, less than 2% are Black, which comes with its own set of challenges.\u003c/p>\n\u003cp>In one scene, student Rachael Schmidt talks about the time she got a bad grade in chemistry class. She blurted out to her classmates that her mom would be upset.\u003c/p>\n\u003cfigure id=\"attachment_13891901\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891901 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Virginia Marshall, President of the San Francisco Alliance of Black School Educators and Co-chair of San Francisco African American Honor Roll with honor student Rachael Schmidt in a scene from Try Harder! directed by Debbie Lum. \u003ccite>(Courtesy Try Harder! Film / Lou Nakasako)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The girl across the table, she asks me, ‘Well, what ethnicity is your mom?’ And I said, ‘She’s African American,’” Schmidt says. “And she said, ‘That’s so weird, because I didn’t expect for Black people to actually care about their grades.’”\u003c/p>\n\u003cp>Lum says she observed micro-aggressions like this regularly at Lowell while shooting her film. The director began her work on the documentary not long after nearly 30 students staged a walkout protesting racism at the school in 2016.\u003c/p>\n\u003cp>So Lum wasn’t surprised to hear the news about the posting of anti-Black and anti-semitic slurs on a school-sponsored messaging platform last week.\u003c/p>\n\u003cp>“It is a problem at Lowell,” Lum says.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco board of education president \u003ca href=\"https://www.sfusd.edu/about/board-of-education/board-president-gabriela-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriela Lopez\u003c/a> says Lowell often gets media attention because of its national profile.\u003c/p>\n\u003cp>“This is a high school that a lot of people know and pay attention to,” Lopez says.\u003c/p>\n\u003cp>But she says the prestigious institution is by no means the only local public school grappling with racism.\u003c/p>\n\u003cp>“Whether it be in our virtual space, whether it be in our physical classrooms, this is not the first time, unfortunately, that it’s happened,” Lopez says.\u003c/p>\n\u003cfigure id=\"attachment_13891902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891902 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Current Lowell senior Justine Orgel. \u003ccite>(Courtesy Justine Orgel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current Lowell High School senior Justine Orgel is part of a group of students that publicly condemned last week’s racist attacks. She says the school’s exclusive admissions policy based on test scores is at least partly to blame.\u003c/p>\n\u003cp>“We have this lack of representation of Black students, Hispanic students,” Orgel says.\u003c/p>\n\u003cp>The anger around racial disparities has also been exacerbated by the school board’s decision last fall to temporarily admit next year’s freshman class at Lowell using the lottery system it uses for other local schools, rather than relying on the selective grades and testing evaluation for which Lowell’s known. The decision was made because of the switch to pass/fail grading during the pandemic.\u003c/p>\n\u003cp>“With the lottery issue came lots of anger on different sides,” Orgel says. “Some people are angry because they don’t want the academic environment of Lowell to change, or they think getting rid of a merit-based system would allow anyone to enroll, implying that they don’t feel that these new students—more diverse groups since there are no barriers to entry other than lottery—deserve the spots. This triggers anger from other sides who feel that this attitude perpetuates systemic racism.”\u003c/p>\n\u003cp>Also of note: Lowell High School is among the 44 public schools in the city the school board voted this week to rename in light of the unethical ties of their namesakes. Nineteenth century writer James Russell Lowell was an abolitionist. But the committee responsible for looking into the namesakes of San Francisco schools question Lowell’s commitment to the anti-slavery cause and say he made statements about the superiority of whites over Blacks.\u003c/p>\n\u003cp>Orgel says she wants to see \u003cem>Try Harder!\u003c/em>. “I hope the film will give audiences the chance to see what the students at Lowell High School are really up against,” she says.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area filmmaker \u003ca href=\"https://www.imdb.com/name/nm0525818/\" target=\"_blank\" rel=\"noopener noreferrer\">Debbie Lum\u003c/a>’s new documentary \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder!\u003c/em>\u003c/a> begins by underscoring popular beliefs about \u003ca href=\"https://www.sfusd.edu/school/lowell-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Lowell High School\u003c/a>:\u003c/p>\n\u003cp>The nationally ranked San Francisco public high school is highly competitive (“Lowell is the ultimate self-confidence crusher!”); the students are excellent at multitasking (“I’m the captain of the tennis team. I’m also co-president of Lowell BuildOn, vice president of Girls who Code and the editor of the school newspaper too!”); and the majority are Asian American (“My friend, he said, ‘Oh, you go to an Asian Excellency School!’”)\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/nSA6-fDXxqc'\n title='//www.youtube.com/embed/nSA6-fDXxqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Lum is interested in digging beneath the stereotypes with her documentary—especially when it comes to race.\u003c/p>\n\u003cp>\u003cem>Try Harder!\u003c/em> shows the pressures facing a group of high-achieving seniors at Lowell as they strive to get accepted at top universities. The \u003ca href=\"https://www.eventbrite.com/e/2021-sundance-film-festival-try-harder-tickets-135708209909\" target=\"_blank\" rel=\"noopener noreferrer\">world premiere\u003c/a> of the movie at the \u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> this weekend comes as the school is reeling from the latest in a string of racist incidents on campus.\u003c/p>\n\u003cp>“My film explores what it means to be stuck in boxes, especially along the lines of racial identity and how that impacts the college application process,” Lum says in an online interview with KQED.\u003c/p>\n\u003cp>In the movie, teacher Scott Dickerman tries to encourage students to look beyond the Ivy League, because of allegations against some elite schools, like Harvard, of discriminating against Asian American applicants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even if you are a student who should be accepted at a school like this, you may not get in anyway,” Dickerman says. “And that in many cases has to do with a little thing called ethnicity.”\u003c/p>\n\u003cp>According to \u003ca href=\"https://dq.cde.ca.gov/dataquest/dqcensus/EnrEthLevels.aspx?cds=38684783833407&agglevel=school&year=2019-20\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Unified School District data\u003c/a> for the 2019–2020 academic year, more than 50% of Lowell students identify as Asian American—almost double the average for San Francisco public schools.\u003c/p>\n\u003cp>Meanwhile, less than 2% are Black, which comes with its own set of challenges.\u003c/p>\n\u003cp>In one scene, student Rachael Schmidt talks about the time she got a bad grade in chemistry class. She blurted out to her classmates that her mom would be upset.\u003c/p>\n\u003cfigure id=\"attachment_13891901\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891901 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Virginia Marshall, President of the San Francisco Alliance of Black School Educators and Co-chair of San Francisco African American Honor Roll with honor student Rachael Schmidt in a scene from Try Harder! directed by Debbie Lum. \u003ccite>(Courtesy Try Harder! Film / Lou Nakasako)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The girl across the table, she asks me, ‘Well, what ethnicity is your mom?’ And I said, ‘She’s African American,’” Schmidt says. “And she said, ‘That’s so weird, because I didn’t expect for Black people to actually care about their grades.’”\u003c/p>\n\u003cp>Lum says she observed micro-aggressions like this regularly at Lowell while shooting her film. The director began her work on the documentary not long after nearly 30 students staged a walkout protesting racism at the school in 2016.\u003c/p>\n\u003cp>So Lum wasn’t surprised to hear the news about the posting of anti-Black and anti-semitic slurs on a school-sponsored messaging platform last week.\u003c/p>\n\u003cp>“It is a problem at Lowell,” Lum says.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco board of education president \u003ca href=\"https://www.sfusd.edu/about/board-of-education/board-president-gabriela-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriela Lopez\u003c/a> says Lowell often gets media attention because of its national profile.\u003c/p>\n\u003cp>“This is a high school that a lot of people know and pay attention to,” Lopez says.\u003c/p>\n\u003cp>But she says the prestigious institution is by no means the only local public school grappling with racism.\u003c/p>\n\u003cp>“Whether it be in our virtual space, whether it be in our physical classrooms, this is not the first time, unfortunately, that it’s happened,” Lopez says.\u003c/p>\n\u003cfigure id=\"attachment_13891902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891902 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Current Lowell senior Justine Orgel. \u003ccite>(Courtesy Justine Orgel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current Lowell High School senior Justine Orgel is part of a group of students that publicly condemned last week’s racist attacks. She says the school’s exclusive admissions policy based on test scores is at least partly to blame.\u003c/p>\n\u003cp>“We have this lack of representation of Black students, Hispanic students,” Orgel says.\u003c/p>\n\u003cp>The anger around racial disparities has also been exacerbated by the school board’s decision last fall to temporarily admit next year’s freshman class at Lowell using the lottery system it uses for other local schools, rather than relying on the selective grades and testing evaluation for which Lowell’s known. The decision was made because of the switch to pass/fail grading during the pandemic.\u003c/p>\n\u003cp>“With the lottery issue came lots of anger on different sides,” Orgel says. “Some people are angry because they don’t want the academic environment of Lowell to change, or they think getting rid of a merit-based system would allow anyone to enroll, implying that they don’t feel that these new students—more diverse groups since there are no barriers to entry other than lottery—deserve the spots. This triggers anger from other sides who feel that this attitude perpetuates systemic racism.”\u003c/p>\n\u003cp>Also of note: Lowell High School is among the 44 public schools in the city the school board voted this week to rename in light of the unethical ties of their namesakes. Nineteenth century writer James Russell Lowell was an abolitionist. But the committee responsible for looking into the namesakes of San Francisco schools question Lowell’s commitment to the anti-slavery cause and say he made statements about the superiority of whites over Blacks.\u003c/p>\n\u003cp>Orgel says she wants to see \u003cem>Try Harder!\u003c/em>. “I hope the film will give audiences the chance to see what the students at Lowell High School are really up against,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Sundance Shines on the Bay with Locally Made Films",
"headTitle": "Sundance Shines on the Bay with Locally Made Films | KQED",
"content": "\u003cp>Forget the parka and the Airborne. You won’t need those clunky, waiting-in-winter-lines boots, either. Don’t bother looking for your business cards. Stop practicing your elevator pitch. Give your celebrity-spotting peripheral vision a rest.\u003c/p>\n\u003cp>You’re not going to Park City, Utah. This year, Sundance is coming to you.\u003c/p>\n\u003cp>Like so many film events in the last 10 months, the \u003ca href=\"https://festival.sundance.org\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Film Festival\u003c/a> is going virtual and rolling to the drive-in. The festival opens online this Friday, Jan. 28 and runs through Wednesday, Feb. 3 with ticketed movies and a slew of \u003ca href=\"https://fpg.festival.sundance.org/film/btf/catalog\" rel=\"noopener noreferrer\" target=\"_blank\">free talks\u003c/a>, conversations, Q&As and panels.\u003c/p>\n\u003cp>Locally, the Roxie is one of 20 Sundance Satellite Screens around the country, and it concurrently presents 11 world premieres (and an international premiere) with Fort Mason Flix. If you’re lucky enough to score tickets, head to the dock of the bay, not the Mission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Four Bay Area films are included in the Sundance lineup, and three of them—\u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em>, \u003cem>Amy Tan: Unintended Memoir\u003c/em> and \u003cem>Try Harder!\u003c/em>—screen at the Drive-in at Fort Mason. \u003cem>Amy Tan\u003c/em> and \u003cem>Try Harder!\u003c/em>, along with Peter Nicks’ \u003cem>Homeroom\u003c/em>, face off in the U.S. Documentary Competition.\u003c/p>\n\u003cp>Should you opt not to be the first on your block to catch the world premieres, either in person or online, here’s a taste to whet your attitude for the theatrical run and/or TV broadcast later this year.\u003c/p>\n\u003cfigure id=\"attachment_13891842\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/rita-moreno_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13891842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Moreno at the 1975 Tony Awards, from ‘Rita Moreno: Just a Girl Who Decided to Go For It’ by Mariem Pérez Riera. \u003ccite>(Courtesy of Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd055b72885b880e094684b\" rel=\"noopener noreferrer\" target=\"_blank\">Rita Moreno: Just a Girl Who Decided to Go For It\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline and Fort Mason, Jan. 29\u003c/p>\n\u003cp>The self-deprecating title of this \u003cem>long\u003c/em>-overdue \u003ci>American Masters\u003c/i> portrait—Moreno joined the rarefied EGOT (Emmy, Grammy, Oscar, Tony) club back in 1977—belies the obstacles and obstruction the beloved Puerto Rican star hurdled in her (still thriving) career. Filmmaker Mariem Pérez Riera told \u003cem>Current\u003c/em> magazine that she hopes to leave audiences with the question, “What is the American dream, or what [are] the sacrifices that you take to have that American dream?”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" rel=\"noopener noreferrer\" target=\"_blank\">Try Harder!\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline, Jan. 30; Fort Mason, Feb. 2\u003c/p>\n\u003cp>Top-rated Lowell High School might be ground zero for the American dream in San Francisco, if you agree that education is the launching pad to success. Debbie Lum’s fluid documentary eschews the breadth of the high school experience to focus on seniors navigating the college-application rat race in the throes of parental pressure, unrealistic expectations and half-formed ambitions. The myths and stereotypes about Asian-Americans—the film’s title is just barely tongue-in-cheek—get a thorough whacking in this \u003ci>Independent Lens\u003c/i> production from the director of \u003cem>Single Asian Female\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13891843\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/try-harder_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13891843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Try Harder!’ by Debbie Lum. \u003ccite>(Courtesy of Sundance Institute; photo by Mario Furloni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd105c963d67704fbc3a54c\" rel=\"noopener noreferrer\" target=\"_blank\">Amy Tan: Unintended Memoir\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline and Fort Mason, Feb. 2\u003c/p>\n\u003cp>Born in Oakland to Chinese parents, Amy Tan channeled the complex experience of growing up first-generation American into \u003cem>The Joy Luck Club\u003c/em> and other best-sellers. Transcending expectations and broaching uncomfortable subjects usually has a price, which Tan bravely delineates in the late Bay Area documentary maker James Redford’s last film. This film is further evidence of the welcome turn that PBS’ \u003ci>American Masters\u003c/i> has taken in recent years from bland biography to incisive social commentary in line with the subject’s themes.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd0ea373eb4bb66ad102828\" rel=\"noopener noreferrer\" target=\"_blank\">Homeroom\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline Jan. 29\u003c/p>\n\u003cp>East Bay doc maker Peter Nicks follows his unflinching verité studies of Oakland’s Highland Hospital (\u003cem>The Waiting Room\u003c/em>) and police department (\u003cem>The Force\u003c/em>) with this high-stakes foray into the blackboard jungle. Every school year is momentous everywhere, but 2019–2020 was off the charts for Oakland High seniors. The world they were preparing to matriculate into went (further) off the rails courtesy of Trump, the coronavirus and racist cops, calling into question the students’ chances—and strategies—for achieving their dreams. \u003c/p>\n\u003cfigure id=\"attachment_13891844\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/when-we-were-bullies_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13891844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘When We Were Bullies’ by Jay Rosenblatt. \u003ccite>(Courtesy of Sundance Institute; photo by Jeremy Rourke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd15bc004818b1c93648d9a\" rel=\"noopener noreferrer\" target=\"_blank\">When We Were Bullies\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline, Jan. 28 in Documentary Shorts Program 2\u003c/p>\n\u003cp>In 1994, San Francisco experimental filmmaker Jay Rosenblatt debuted his first found-footage masterpiece, \u003cem>The Smell of Burning Ants\u003c/em>, at Sundance. A devastating 21-minute evisceration of the routine and unquestioned brutality of male adolescence, it garnered a shelf’s worth of awards and pioneered a unique approach to first-person documentary.\u003c/p>\n\u003cp>The unforgettable heart of that film, at least for me, was a cowardly act the filmmaker had unthinkingly joined in back in fifth grade. Over the course of 36 rather uncomfortable minutes, \u003cem>When We Were Bullies\u003c/em> excavates and examines that same long-ago incident through the lens of personal responsibility. Rosenblatt’s investigation is complicated, however, by his total awareness that the statute of limitations (as it were) on resolution, let alone reconciliation, might have expired.\u003c/p>\n\u003cp>There is much, much more in the Sundance program, notably the most-watched section of the festival, the U.S. Dramatic Competition. B.Y.O. popcorn.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "This year’s festival is online with a 12-film contingent of premieres screening via the Roxie at Fort Mason.",
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"title": "Sundance Shines on the Bay with Locally Made Films | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forget the parka and the Airborne. You won’t need those clunky, waiting-in-winter-lines boots, either. Don’t bother looking for your business cards. Stop practicing your elevator pitch. Give your celebrity-spotting peripheral vision a rest.\u003c/p>\n\u003cp>You’re not going to Park City, Utah. This year, Sundance is coming to you.\u003c/p>\n\u003cp>Like so many film events in the last 10 months, the \u003ca href=\"https://festival.sundance.org\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Film Festival\u003c/a> is going virtual and rolling to the drive-in. The festival opens online this Friday, Jan. 28 and runs through Wednesday, Feb. 3 with ticketed movies and a slew of \u003ca href=\"https://fpg.festival.sundance.org/film/btf/catalog\" rel=\"noopener noreferrer\" target=\"_blank\">free talks\u003c/a>, conversations, Q&As and panels.\u003c/p>\n\u003cp>Locally, the Roxie is one of 20 Sundance Satellite Screens around the country, and it concurrently presents 11 world premieres (and an international premiere) with Fort Mason Flix. If you’re lucky enough to score tickets, head to the dock of the bay, not the Mission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Four Bay Area films are included in the Sundance lineup, and three of them—\u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em>, \u003cem>Amy Tan: Unintended Memoir\u003c/em> and \u003cem>Try Harder!\u003c/em>—screen at the Drive-in at Fort Mason. \u003cem>Amy Tan\u003c/em> and \u003cem>Try Harder!\u003c/em>, along with Peter Nicks’ \u003cem>Homeroom\u003c/em>, face off in the U.S. Documentary Competition.\u003c/p>\n\u003cp>Should you opt not to be the first on your block to catch the world premieres, either in person or online, here’s a taste to whet your attitude for the theatrical run and/or TV broadcast later this year.\u003c/p>\n\u003cfigure id=\"attachment_13891842\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/rita-moreno_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13891842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/rita-moreno_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Moreno at the 1975 Tony Awards, from ‘Rita Moreno: Just a Girl Who Decided to Go For It’ by Mariem Pérez Riera. \u003ccite>(Courtesy of Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd055b72885b880e094684b\" rel=\"noopener noreferrer\" target=\"_blank\">Rita Moreno: Just a Girl Who Decided to Go For It\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline and Fort Mason, Jan. 29\u003c/p>\n\u003cp>The self-deprecating title of this \u003cem>long\u003c/em>-overdue \u003ci>American Masters\u003c/i> portrait—Moreno joined the rarefied EGOT (Emmy, Grammy, Oscar, Tony) club back in 1977—belies the obstacles and obstruction the beloved Puerto Rican star hurdled in her (still thriving) career. Filmmaker Mariem Pérez Riera told \u003cem>Current\u003c/em> magazine that she hopes to leave audiences with the question, “What is the American dream, or what [are] the sacrifices that you take to have that American dream?”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" rel=\"noopener noreferrer\" target=\"_blank\">Try Harder!\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline, Jan. 30; Fort Mason, Feb. 2\u003c/p>\n\u003cp>Top-rated Lowell High School might be ground zero for the American dream in San Francisco, if you agree that education is the launching pad to success. Debbie Lum’s fluid documentary eschews the breadth of the high school experience to focus on seniors navigating the college-application rat race in the throes of parental pressure, unrealistic expectations and half-formed ambitions. The myths and stereotypes about Asian-Americans—the film’s title is just barely tongue-in-cheek—get a thorough whacking in this \u003ci>Independent Lens\u003c/i> production from the director of \u003cem>Single Asian Female\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13891843\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/try-harder_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13891843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/try-harder_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Try Harder!’ by Debbie Lum. \u003ccite>(Courtesy of Sundance Institute; photo by Mario Furloni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd105c963d67704fbc3a54c\" rel=\"noopener noreferrer\" target=\"_blank\">Amy Tan: Unintended Memoir\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline and Fort Mason, Feb. 2\u003c/p>\n\u003cp>Born in Oakland to Chinese parents, Amy Tan channeled the complex experience of growing up first-generation American into \u003cem>The Joy Luck Club\u003c/em> and other best-sellers. Transcending expectations and broaching uncomfortable subjects usually has a price, which Tan bravely delineates in the late Bay Area documentary maker James Redford’s last film. This film is further evidence of the welcome turn that PBS’ \u003ci>American Masters\u003c/i> has taken in recent years from bland biography to incisive social commentary in line with the subject’s themes.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd0ea373eb4bb66ad102828\" rel=\"noopener noreferrer\" target=\"_blank\">Homeroom\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline Jan. 29\u003c/p>\n\u003cp>East Bay doc maker Peter Nicks follows his unflinching verité studies of Oakland’s Highland Hospital (\u003cem>The Waiting Room\u003c/em>) and police department (\u003cem>The Force\u003c/em>) with this high-stakes foray into the blackboard jungle. Every school year is momentous everywhere, but 2019–2020 was off the charts for Oakland High seniors. The world they were preparing to matriculate into went (further) off the rails courtesy of Trump, the coronavirus and racist cops, calling into question the students’ chances—and strategies—for achieving their dreams. \u003c/p>\n\u003cfigure id=\"attachment_13891844\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/when-we-were-bullies_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13891844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/when-we-were-bullies_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘When We Were Bullies’ by Jay Rosenblatt. \u003ccite>(Courtesy of Sundance Institute; photo by Jeremy Rourke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd15bc004818b1c93648d9a\" rel=\"noopener noreferrer\" target=\"_blank\">When We Were Bullies\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nOnline, Jan. 28 in Documentary Shorts Program 2\u003c/p>\n\u003cp>In 1994, San Francisco experimental filmmaker Jay Rosenblatt debuted his first found-footage masterpiece, \u003cem>The Smell of Burning Ants\u003c/em>, at Sundance. A devastating 21-minute evisceration of the routine and unquestioned brutality of male adolescence, it garnered a shelf’s worth of awards and pioneered a unique approach to first-person documentary.\u003c/p>\n\u003cp>The unforgettable heart of that film, at least for me, was a cowardly act the filmmaker had unthinkingly joined in back in fifth grade. Over the course of 36 rather uncomfortable minutes, \u003cem>When We Were Bullies\u003c/em> excavates and examines that same long-ago incident through the lens of personal responsibility. Rosenblatt’s investigation is complicated, however, by his total awareness that the statute of limitations (as it were) on resolution, let alone reconciliation, might have expired.\u003c/p>\n\u003cp>There is much, much more in the Sundance program, notably the most-watched section of the festival, the U.S. Dramatic Competition. B.Y.O. popcorn.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "from-vallejo-an-intimate-video-series-putting-on-for-the-bay",
"title": "From Vallejo, LaRussell Is Putting On for the Bay",
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"content": "\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WwXsgUdJJIg\u003c/p>\n\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p3jcRH34Vjk\u003c/p>\n\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zk8L-CoNk2k\u003c/p>\n\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\u003c/em>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WwXsgUdJJIg'\n title='//www.youtube.com/embed/WwXsgUdJJIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\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/p3jcRH34Vjk'\n title='//www.youtube.com/embed/p3jcRH34Vjk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\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/zk8L-CoNk2k'\n title='//www.youtube.com/embed/zk8L-CoNk2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As we count down the remaining hours of a 21st-century presidency that endorsed and encouraged racist ideas, attitudes and policies, a trio of new movies set in the 1960s (and one in the ’50s) reminds us that institutional prejudice is a time-honored American tradition. I wonder, though, what J. Edgar Hoover, who despised influential Black celebrities, would make of Donald Trump faking friendships with Kanye West and Tiger Woods.\u003c/p>\n\u003cp>Compromise is the devil’s brew, as we see in the tense trailer for \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=sSjtGqRXQ9Y\" rel=\"noopener noreferrer\" target=\"_blank\">Judas and the Black Messiah\u003c/a>\u003c/em> (Feb. 12), which revisits the too-brief saga of Fred Hampton, the galvanizing leader of the Illinois chapter of the Black Panther Party, through the eyes (and ears) of an FBI informant. \u003cem>\u003ca href=\"https://youtu.be/USi-ppCfxEA\" rel=\"noopener noreferrer\" target=\"_blank\">The United States vs. Billie Holiday\u003c/a>\u003c/em> (Feb. 26) dramatizes the consequences of the great jazz singer’s decision, over a decade earlier, to provoke rather than soothe and entertain.\u003c/p>\n\u003cp>Their releases appear timed to coincide with Black History Month. Dr. Martin Luther King Jr.’s upcoming birthday, presumably, is the tie-in with this week’s openings of \u003cem>One Night in Miami\u003c/em> and \u003cem>MLK/FBI\u003c/em>. Or could they be tacit acknowledgements that a new, non-racist sheriff is coming to town?\u003c/p>\n\u003cp>\u003cb>\u003cem>One Night in Miami\u003c/em>\u003c/b>\u003cbr>\nJan. 15\u003cbr>\n\u003ca href=\"https://www.amazon.com/dp/B08NM22YF4/\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>\u003c/p>\n\u003cp>The underlying premise of Regina King’s addictive, beautifully acted film, adapted by Kemp Powers from his play, is that nobody knows you, loves you and busts your butt like your brother. Even if you’re a household name, he’ll nail your weaknesses, self-deceptions and crises of conscience. It’s never fun, especially when you’re a Black man who’s already measured and judged every second by the white majority.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the sweet afterglow of his 1964 upset victory over Sonny Liston for the heavyweight crown, Cassius Clay joins soul singer Sam Cooke, football star Jim Brown and Malcolm X in a Miami hotel room. Instead of the party that the athletes and musician envisioned (which Malcolm isn’t onboard for, obviously), secrets will be revealed and a few courses corrected.\u003c/p>\n\u003cfigure id=\"attachment_13891335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ONIM_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kingsley Ben-Adir as Malcolm X in ‘One Night in Miami.’ \u003ccite>(Amazon Prime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no accident that the protagonists are all on the cusp of risky changes: Clay is joining the Nation of Islam (and will shed his “slave name”) while Malcolm is plotting his departure from the Nation. Brown has just made his acting debut with the aim of quitting football, and the crowd-pleasing, crossover crooner is writing socially relevant songs.\u003c/p>\n\u003cp>Smartly yet unobtrusively directed by Regina King, \u003cem>One Night in Miami\u003c/em> is an alive, exciting film that judiciously generates suspense and pathos from our knowledge of its protagonists’ coming months. It’s got more on its mind than half-a-dozen typical movies put together, presented in the irresistible guise of private access to four smart, ambitious men who are grappling with how to parlay their personal success into gains for the civil rights movement.\u003c/p>\n\u003cp>As it happens, Amazon Prime also has the perfect nonfiction follow-up to \u003cem>One Night in Miami\u003c/em>: Bill Siegel’s revelatory 2013 documentary, \u003cem>The Trials of Muhammad Ali\u003c/em>.\u003c/p>\n\u003cp>\u003cb>\u003cem>MLK/FBI\u003c/em>\u003c/b>\u003cbr>\nOpens Jan. 15\u003cbr>\n\u003ca href=\"https://www.mlkfbi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>Sam Pollard’s first-rate 2017 documentary, \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me\u003c/em>, which aired on PBS’ \u003cem>American Masters\u003c/em>, fits right into our conversation about entertainers-cum-activists. Pollard’s new doc is a good deal drier, excavating history for its own value and contemporary relevance rather than for nostalgia or entertainment (not to diminish the wide-ranging Davis portrait). A sober indictment of institutional racism, \u003cem>MLK/FBI\u003c/em> catalogs J. Edgar Hoover’s clandestine, obsessive wiretapping, bugging, surveillance and intimidation of Dr. Martin Luther King Jr.\u003c/p>\n\u003cp>Hoover’s ostensible initial justification was King’s close friendship with a Jewish lawyer, accountant and—wait for it—one-time communist. That made King one kind of enemy of the state; speaking out against the Vietnam War in 1967 made him dangerous in another way. Throughout the late ’50s and ’60s, of course, as a Black man who marshaled tens of thousands of (nonviolent) everyday citizens, King was a threat to the status quo.\u003c/p>\n\u003cfigure id=\"attachment_13891331\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/MLK-FBI-Still-7.jpg\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13891331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Martin Luther King Jr. in Sam Pollard’s ‘MLK/FBI.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As ridiculous as this sounds today, there was more: The G-men actively recorded King’s extramarital liaisons in hotel rooms, and leaked transcripts and recordings to the press with the goal of discrediting him. (No one stooped to print the allegations, apparently, in the days before the \u003cem>National Enquirer\u003c/em> and, cough, TMZ.) They even mailed tapes to Coretta Scott King, the reverend’s wife.\u003c/p>\n\u003cp>I found \u003cem>MLK/FBI\u003c/em> a bitter experience, in part because it’s so clear in hindsight that law enforcement actively used its power to persecute Black people while protecting white supremacists. The injustice is especially infuriating after last week’s riot, when coddled white seditionists carried Confederate flags into the U.S. Capitol.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film to watch after \u003cem>MLK/FBI\u003c/em>—if somehow you still haven’t managed to see it—is \u003cem>I Am Not Your Negro\u003c/em> (2016), Raoul Peck’s brilliant representation of James Baldwin. It’s a helpful, albeit painful guide for the work ahead of us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we count down the remaining hours of a 21st-century presidency that endorsed and encouraged racist ideas, attitudes and policies, a trio of new movies set in the 1960s (and one in the ’50s) reminds us that institutional prejudice is a time-honored American tradition. I wonder, though, what J. Edgar Hoover, who despised influential Black celebrities, would make of Donald Trump faking friendships with Kanye West and Tiger Woods.\u003c/p>\n\u003cp>Compromise is the devil’s brew, as we see in the tense trailer for \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=sSjtGqRXQ9Y\" rel=\"noopener noreferrer\" target=\"_blank\">Judas and the Black Messiah\u003c/a>\u003c/em> (Feb. 12), which revisits the too-brief saga of Fred Hampton, the galvanizing leader of the Illinois chapter of the Black Panther Party, through the eyes (and ears) of an FBI informant. \u003cem>\u003ca href=\"https://youtu.be/USi-ppCfxEA\" rel=\"noopener noreferrer\" target=\"_blank\">The United States vs. Billie Holiday\u003c/a>\u003c/em> (Feb. 26) dramatizes the consequences of the great jazz singer’s decision, over a decade earlier, to provoke rather than soothe and entertain.\u003c/p>\n\u003cp>Their releases appear timed to coincide with Black History Month. Dr. Martin Luther King Jr.’s upcoming birthday, presumably, is the tie-in with this week’s openings of \u003cem>One Night in Miami\u003c/em> and \u003cem>MLK/FBI\u003c/em>. Or could they be tacit acknowledgements that a new, non-racist sheriff is coming to town?\u003c/p>\n\u003cp>\u003cb>\u003cem>One Night in Miami\u003c/em>\u003c/b>\u003cbr>\nJan. 15\u003cbr>\n\u003ca href=\"https://www.amazon.com/dp/B08NM22YF4/\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>\u003c/p>\n\u003cp>The underlying premise of Regina King’s addictive, beautifully acted film, adapted by Kemp Powers from his play, is that nobody knows you, loves you and busts your butt like your brother. Even if you’re a household name, he’ll nail your weaknesses, self-deceptions and crises of conscience. It’s never fun, especially when you’re a Black man who’s already measured and judged every second by the white majority.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the sweet afterglow of his 1964 upset victory over Sonny Liston for the heavyweight crown, Cassius Clay joins soul singer Sam Cooke, football star Jim Brown and Malcolm X in a Miami hotel room. Instead of the party that the athletes and musician envisioned (which Malcolm isn’t onboard for, obviously), secrets will be revealed and a few courses corrected.\u003c/p>\n\u003cfigure id=\"attachment_13891335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ONIM_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ONIM_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kingsley Ben-Adir as Malcolm X in ‘One Night in Miami.’ \u003ccite>(Amazon Prime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no accident that the protagonists are all on the cusp of risky changes: Clay is joining the Nation of Islam (and will shed his “slave name”) while Malcolm is plotting his departure from the Nation. Brown has just made his acting debut with the aim of quitting football, and the crowd-pleasing, crossover crooner is writing socially relevant songs.\u003c/p>\n\u003cp>Smartly yet unobtrusively directed by Regina King, \u003cem>One Night in Miami\u003c/em> is an alive, exciting film that judiciously generates suspense and pathos from our knowledge of its protagonists’ coming months. It’s got more on its mind than half-a-dozen typical movies put together, presented in the irresistible guise of private access to four smart, ambitious men who are grappling with how to parlay their personal success into gains for the civil rights movement.\u003c/p>\n\u003cp>As it happens, Amazon Prime also has the perfect nonfiction follow-up to \u003cem>One Night in Miami\u003c/em>: Bill Siegel’s revelatory 2013 documentary, \u003cem>The Trials of Muhammad Ali\u003c/em>.\u003c/p>\n\u003cp>\u003cb>\u003cem>MLK/FBI\u003c/em>\u003c/b>\u003cbr>\nOpens Jan. 15\u003cbr>\n\u003ca href=\"https://www.mlkfbi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>Sam Pollard’s first-rate 2017 documentary, \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me\u003c/em>, which aired on PBS’ \u003cem>American Masters\u003c/em>, fits right into our conversation about entertainers-cum-activists. Pollard’s new doc is a good deal drier, excavating history for its own value and contemporary relevance rather than for nostalgia or entertainment (not to diminish the wide-ranging Davis portrait). A sober indictment of institutional racism, \u003cem>MLK/FBI\u003c/em> catalogs J. Edgar Hoover’s clandestine, obsessive wiretapping, bugging, surveillance and intimidation of Dr. Martin Luther King Jr.\u003c/p>\n\u003cp>Hoover’s ostensible initial justification was King’s close friendship with a Jewish lawyer, accountant and—wait for it—one-time communist. That made King one kind of enemy of the state; speaking out against the Vietnam War in 1967 made him dangerous in another way. Throughout the late ’50s and ’60s, of course, as a Black man who marshaled tens of thousands of (nonviolent) everyday citizens, King was a threat to the status quo.\u003c/p>\n\u003cfigure id=\"attachment_13891331\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/MLK-FBI-Still-7.jpg\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13891331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/MLK-FBI-Still-7-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Martin Luther King Jr. in Sam Pollard’s ‘MLK/FBI.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As ridiculous as this sounds today, there was more: The G-men actively recorded King’s extramarital liaisons in hotel rooms, and leaked transcripts and recordings to the press with the goal of discrediting him. (No one stooped to print the allegations, apparently, in the days before the \u003cem>National Enquirer\u003c/em> and, cough, TMZ.) They even mailed tapes to Coretta Scott King, the reverend’s wife.\u003c/p>\n\u003cp>I found \u003cem>MLK/FBI\u003c/em> a bitter experience, in part because it’s so clear in hindsight that law enforcement actively used its power to persecute Black people while protecting white supremacists. The injustice is especially infuriating after last week’s riot, when coddled white seditionists carried Confederate flags into the U.S. Capitol.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film to watch after \u003cem>MLK/FBI\u003c/em>—if somehow you still haven’t managed to see it—is \u003cem>I Am Not Your Negro\u003c/em> (2016), Raoul Peck’s brilliant representation of James Baldwin. It’s a helpful, albeit painful guide for the work ahead of us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Promising Young Woman' and 'Pieces of a Woman' Examine Trauma and Revenge",
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"content": "\u003cp>If you didn’t know what they were about, you’d be forgiven for confusing the striking new movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Pieces of a Woman\u003c/em>. They do have similarities that go beyond their titles: Each is an intense but uneven film about the lingering effects of trauma and tragedy. And each one centers on an American woman played by an English actor doing her strongest work in some time.\u003c/p>\n\u003cp>In the devious revenge thriller \u003cem>Promising Young Woman\u003c/em>, the actor is Carey Mulligan, and we first see her character, Cassie, nearly passed out drunk in a nightclub. A nice-seeming young man offers to take her home, but instead brings her back to his place. Just as he starts to undress her, Cassie suddenly snaps to attention, fully awake and fully sober. There’s an ominous cut to black; we never find out what happens to the young man or the many others like him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003cp>This is what Cassie does almost every night, offering herself up as bait and turning the tables on would-be rapists. In her mind, she’s making the world a safer place for women, one predator at a time.\u003c/p>\n\u003cp>Her days are uneventful by comparison. At 30, she works in a coffee shop and still lives at home with her parents. Years ago, she was studying to be a doctor, but dropped out after something terrible happened to her best friend and classmate, Nina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Promising Young Woman\u003c/em> is the first feature written and directed by the English filmmaker Emerald Fennell, who served as showrunner on the second season of \u003ca href=\"https://www.npr.org/2018/04/06/600104179/paterno-and-killing-eve-bring-complexity-and-intrigue-to-cable\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Killing Eve\u003c/em>\u003c/a>. She gives the movie a subversively candy-colored surface; watching it is like biting into a super-sweet cupcake with a surprisingly bitter aftertaste.\u003c/p>\n\u003cp>Initially it suggests a vigilante movie for the #MeToo era, as Cassie tries to settle the score with everyone, including the dean who turned a blind eye to Nina’s pain. But then it turns into a disquietingly charming romantic comedy, as Cassie—who has trained herself to see every nice guy as a potential threat—unexpectedly falls for a nice guy, played by the comedian and filmmaker \u003ca href=\"https://www.npr.org/2018/12/27/680356663/director-bo-burnham-on-growing-up-with-anxiety-and-an-audience\" target=\"_blank\" rel=\"noopener noreferrer\">Bo Burnham\u003c/a>.\u003c/p>\n\u003cp>These wild tonal shifts seem to echo Cassie’s own identity crisis: the trusting innocent she used to be and the self-destructive avenger she’s become. But as it barrels toward an ending that strives to be tragic, darkly funny and queasily nihilistic all at once, \u003cem>Promising\u003c/em> \u003cem>Young Woman \u003c/em>starts to feel at odds with itself, as if it were trying to make you cackle and weep at the same time. That it works at all is a credit to Mulligan’s skillful, shape-shifting performance. She gives this audacious but not fully realized movie an emotional coherence it wouldn’t have had otherwise.\u003c/p>\n\u003cp>Vanessa Kirby does something similar in \u003cem>Pieces of a Woman\u003c/em>: She’s ultimately more convincing than the movie itself. In this grim English-language drama from the Hungarian director Kornél Mundruczó and the screenwriter Kata Wéber, Kirby plays a Boston woman named Martha who’s about to have a child with her partner, Sean, played by Shia LaBeouf.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1zLKbMAZNGI\u003c/p>\n\u003cp>The two have planned on a home birth, which takes place in a brilliantly choreographed and excruciatingly tense sequence that plays out in real time for almost 25 minutes. I’ve never seen anything quite like this scene, in which Martha endures contraction after contraction, retching and groaning in pain while Sean and the midwife, played by a terrific Molly Parker, rush about trying to help. But their efforts end in tragedy, and the baby doesn’t survive.\u003c/p>\n\u003cp>The story unfolds over the next eight months. Martha’s mother, played by an astonishing\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\"> Ellen Burstyn\u003c/a>, demands justice, urging them to sue the midwife. While Martha retreats into herself, Sean descends noisily into grief and rage. At one point, he becomes frighteningly aggressive in a hard-to-watch sex scene that couldn’t help but remind me that LaBeouf’s former girlfriend recently brought\u003ca href=\"https://www.npr.org/2020/12/11/945549607/fka-twigs-sues-shia-labeouf-accusing-him-of-domestic-abuse\" target=\"_blank\" rel=\"noopener noreferrer\"> abuse allegations \u003c/a>against him. It’s not the first time the actor has given a performance that seems to spring, in part, from his own personal demons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pieces of a Woman \u003c/em>doesn’t entirely work; it has its share of falsely contrived moments and heavy-handed symbolism. But Kirby’s quiet, implosive performance is breathtaking in its subtlety. You can see in Martha a quality that also defined Kirby’s young Princess Margaret on \u003cem>The Crown\u003c/em>: a steely refusal to conform to others’ expectations. Martha recoils when loved ones try to comfort her, and she’s reluctant to pursue the lawsuit; her grief exists beyond the reach of compensation or consolation. You don’t always know what she’s thinking from moment to moment, but you believe her completely.\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=%27Promising+Young+Woman%27+And+%27Pieces+Of+A+Woman%27+Examine+Trauma+And+Revenge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you didn’t know what they were about, you’d be forgiven for confusing the striking new movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Pieces of a Woman\u003c/em>. They do have similarities that go beyond their titles: Each is an intense but uneven film about the lingering effects of trauma and tragedy. And each one centers on an American woman played by an English actor doing her strongest work in some time.\u003c/p>\n\u003cp>In the devious revenge thriller \u003cem>Promising Young Woman\u003c/em>, the actor is Carey Mulligan, and we first see her character, Cassie, nearly passed out drunk in a nightclub. A nice-seeming young man offers to take her home, but instead brings her back to his place. Just as he starts to undress her, Cassie suddenly snaps to attention, fully awake and fully sober. There’s an ominous cut to black; we never find out what happens to the young man or the many others like him.\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/7i5kiFDunk8'\n title='//www.youtube.com/embed/7i5kiFDunk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is what Cassie does almost every night, offering herself up as bait and turning the tables on would-be rapists. In her mind, she’s making the world a safer place for women, one predator at a time.\u003c/p>\n\u003cp>Her days are uneventful by comparison. At 30, she works in a coffee shop and still lives at home with her parents. Years ago, she was studying to be a doctor, but dropped out after something terrible happened to her best friend and classmate, Nina.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Promising Young Woman\u003c/em> is the first feature written and directed by the English filmmaker Emerald Fennell, who served as showrunner on the second season of \u003ca href=\"https://www.npr.org/2018/04/06/600104179/paterno-and-killing-eve-bring-complexity-and-intrigue-to-cable\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Killing Eve\u003c/em>\u003c/a>. She gives the movie a subversively candy-colored surface; watching it is like biting into a super-sweet cupcake with a surprisingly bitter aftertaste.\u003c/p>\n\u003cp>Initially it suggests a vigilante movie for the #MeToo era, as Cassie tries to settle the score with everyone, including the dean who turned a blind eye to Nina’s pain. But then it turns into a disquietingly charming romantic comedy, as Cassie—who has trained herself to see every nice guy as a potential threat—unexpectedly falls for a nice guy, played by the comedian and filmmaker \u003ca href=\"https://www.npr.org/2018/12/27/680356663/director-bo-burnham-on-growing-up-with-anxiety-and-an-audience\" target=\"_blank\" rel=\"noopener noreferrer\">Bo Burnham\u003c/a>.\u003c/p>\n\u003cp>These wild tonal shifts seem to echo Cassie’s own identity crisis: the trusting innocent she used to be and the self-destructive avenger she’s become. But as it barrels toward an ending that strives to be tragic, darkly funny and queasily nihilistic all at once, \u003cem>Promising\u003c/em> \u003cem>Young Woman \u003c/em>starts to feel at odds with itself, as if it were trying to make you cackle and weep at the same time. That it works at all is a credit to Mulligan’s skillful, shape-shifting performance. She gives this audacious but not fully realized movie an emotional coherence it wouldn’t have had otherwise.\u003c/p>\n\u003cp>Vanessa Kirby does something similar in \u003cem>Pieces of a Woman\u003c/em>: She’s ultimately more convincing than the movie itself. In this grim English-language drama from the Hungarian director Kornél Mundruczó and the screenwriter Kata Wéber, Kirby plays a Boston woman named Martha who’s about to have a child with her partner, Sean, played by Shia LaBeouf.\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/1zLKbMAZNGI'\n title='//www.youtube.com/embed/1zLKbMAZNGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The two have planned on a home birth, which takes place in a brilliantly choreographed and excruciatingly tense sequence that plays out in real time for almost 25 minutes. I’ve never seen anything quite like this scene, in which Martha endures contraction after contraction, retching and groaning in pain while Sean and the midwife, played by a terrific Molly Parker, rush about trying to help. But their efforts end in tragedy, and the baby doesn’t survive.\u003c/p>\n\u003cp>The story unfolds over the next eight months. Martha’s mother, played by an astonishing\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\"> Ellen Burstyn\u003c/a>, demands justice, urging them to sue the midwife. While Martha retreats into herself, Sean descends noisily into grief and rage. At one point, he becomes frighteningly aggressive in a hard-to-watch sex scene that couldn’t help but remind me that LaBeouf’s former girlfriend recently brought\u003ca href=\"https://www.npr.org/2020/12/11/945549607/fka-twigs-sues-shia-labeouf-accusing-him-of-domestic-abuse\" target=\"_blank\" rel=\"noopener noreferrer\"> abuse allegations \u003c/a>against him. It’s not the first time the actor has given a performance that seems to spring, in part, from his own personal demons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pieces of a Woman \u003c/em>doesn’t entirely work; it has its share of falsely contrived moments and heavy-handed symbolism. But Kirby’s quiet, implosive performance is breathtaking in its subtlety. You can see in Martha a quality that also defined Kirby’s young Princess Margaret on \u003cem>The Crown\u003c/em>: a steely refusal to conform to others’ expectations. Martha recoils when loved ones try to comfort her, and she’s reluctant to pursue the lawsuit; her grief exists beyond the reach of compensation or consolation. You don’t always know what she’s thinking from moment to moment, but you believe her completely.\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=%27Promising+Young+Woman%27+And+%27Pieces+Of+A+Woman%27+Examine+Trauma+And+Revenge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! S.F. Latino Film Festival and ‘The Reason I Jump’",
"headTitle": "Now Playing! S.F. Latino Film Festival and ‘The Reason I Jump’ | KQED",
"content": "\u003cp>“You don’t know what you’ve got ‘til it’s gone,” Joni Mitchell warned us years ago. Alas, her rueful Zen koan emerged as the moviegoers’ mantra of 2020. So we continue to hone our home-viewing game until it’s safe to return to theaters. (April 1 at the earliest, I’m guessing, unless venues are allowed to reopen for those with proof of vaccination.)\u003c/p>\n\u003cp>If you haven’t already, then look beyond the well-combed playlists of the major streamers. Stop foraging for binge-worthy (or cringe-worthy) Euro-soaps and detective shows. Instead, watch a new movie via the local virtual cinemas (Roxie, Balboa/Vogue, Smith Rafael Film Center and BAMPFA) or video on demand. Don’t overlook the array of local film festivals, transported online and rife with revelations from around the world. The filmgoers’ mantra for 2021? Neil Young’s wry observation will do nicely for the first few months: “Motion pictures on my TV screen/A home away from home, livin’ in between.”\u003c/p>\n\u003cfigure id=\"attachment_13890979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg\" alt=\"Still from 'Blanco en Blanco,' playing as part of the SF Latino Film Festival. \" width=\"800\" height=\"500\" class=\"size-full wp-image-13890979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Blanco en Blanco,’ playing as part of the SF Latino Film Festival. \u003ccite>(Dir. Théo Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Latino Film Festival\u003c/h2>\n\u003cp>\u003cstrong>Through Jan. 10\u003c/strong>\u003cbr>\n\u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The \u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">S.F. Latino Film Festival\u003c/a> opened on Dec. 30, thus staking its claim to the first such event of 2021. A high-quality selection of recent narratives, documentaries and shorts from the southern tip of South America all the way up to Canada and beyond, the program is full of enticements.\u003c/p>\n\u003cp>I enjoyed Brazilian writer-director Déo Cardoso’s take-no-prisoners debut feature, \u003cem>Cabeça de Nêgo\u003c/em> (\u003cem>A Bruddah’s Mind\u003c/em>), a youth-in-revolt homage to the Black Panthers. A bookish Afro-Brazilian high school kid draws the line when another student calls him a monkey and the teacher punishes our ticked-off protagonist instead for mildly retaliating. Saulo initiates a one-man occupation, issuing a list of basic demands (current textbooks, no mice or roaches) and instigating a rally by his fellow students outside the school’s gates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saulo name-checks Angela Davis early in \u003cem>Cabeça de Nêgo\u003c/em>, but later confides that his favorite Panther is the charismatic Chicagoan Fred Hampton. It’s only after the movie’s tone darkens, as the authorities respond arrogantly, foolishly and violently to the student protest, that we grasp the full significance of Saulo’s identification. \u003c/p>\n\u003cp>\u003cem>Cabeca de Nêgo\u003c/em> effectively calls out (take a breath) racism, misogyny, militarism, the ruling class and the cooption of TV news, though the political commentary embedded organically in the storyline gives way in the last reel to overt polemics. Then again, the Black Panthers realized that subtlety wasn’t always conducive to social change. The revolution may not be televised, brothers and sisters, but it will be facilitated by cellphones.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, local filmmaker Claudia Escobar’s verité portrait of Bay Area singer-songwriter Diana Gameros, provides a welcome and poignant perspective on a less-discussed aspect of the immigration conundrum, namely the separation of undocumented Mexicans in the U.S. from their families.\u003c/p>\n\u003cp>Gameros attended a small Michigan college on a student visa, then continued her classes after her documents expired. She moved to San Francisco in the aughts, finding her voice and building a following in the Mission. Years went by, and she couldn’t return to her hometown of Juarez without the green card that would grant her reentry to the United States.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, which was produced by and will air on KQED later this year, is a unique profile of the artist as activist. (It’s appropriate that Joan Baez makes a brief appearance.) Although the documentary (which boasts a kicker climax) is choppy in places and held together by the quiet urgency of Gameros’ singing and the stark poetry of her lyrics, it is much more than a music film. Gameros embodies the responsibility of identity, the debt to family, the urge to create and thrive in the present and the influences of the past. Her gracefulness—and joy—as she navigates her path is quietly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_13890980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ReasonIJump.jpg\" alt=\"A still from 'The Reason I Jump.'\" width=\"800\" height=\"450\" class=\"size-full wp-image-13890980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Reason I Jump.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Reason I Jump’\u003c/h2>\n\u003cp>\u003cstrong>Opens Jan. 8\u003c/strong>\u003cbr>\nCinema SF (Vogue/Balboa), Roxie, Smith Rafael Film Center\u003c/p>\n\u003cp>Narrative and nonfiction directors have attempted to capture and convey the experience of every kind of physical and psychological experience, from blindness (\u003cem>The Miracle Worker\u003c/em>, \u003cem>Ray\u003c/em>) to deafness (\u003cem>In the Land of the Deaf\u003c/em>, \u003cem>Touch the Sound\u003c/em>) to paralysis (\u003cem>The Diving Bell and the Butterfly\u003c/em>) to mental illness (\u003cem>Fear Strikes Out\u003c/em>). The impulse in those movies, and their success, derives in no small measure from, as the late critic Roger Ebert put it, film’s special ability to function as a machine that generates empathy.\u003c/p>\n\u003cp>Jerry Rothwell’s remarkable documentary \u003cem>The Reason I Jump\u003c/em>, which won the Audience Award in the World Cinema Documentary sidebar at Sundance a year ago, does that and much more. It takes Naoki Higashida’s 2013 book, \u003cem>The Reason I Jump: The Inner Voice of a Thirteen-Year-Old Boy with Autism\u003c/em>, as its starting point and voiceover-narration thread. Impressionistic and sensation-alistic in its early stages, the film aspires to evoke autistic children’s impulsive reactions (to sensory stimulants like noise, light and color), their nonlinear sense of time and memory and their frustration at not being able to voice their feelings.\u003c/p>\n\u003cp>But the thing I learned, from the five children and their parents whom we meet in India, England, Virginia and Sierra Leone, is that neurotypicals (people with typical developmental, intellectual and cognitive abilities) \u003cem>can’t\u003c/em> perceive the world the way autistic people do. I can’t imagine, or identify with, their specific worlds. That said, I now see them with more humanity and, yes, empathy.\u003c/p>\n\u003cp>\u003cem>The Reason I Jump\u003c/em> includes a couple of what we could crassly call success stories, but it doesn’t peddle a Hollywood fantasy. At one point Amrit, an Indian girl who pours her vibrant inner world into colorful, geometrically clever drawings, receives a gallery show. But it’s not clear what she thinks of the whole production, and Rothwell allows the moment to pass without forcing an interpretation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One of the book’s English translators remarks, “The book felt like an envoy from another world whose cultures, whose rules, I didn’t understand.” By guiding us across that border, Rothwell’s film makes an enormous contribution. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You don’t know what you’ve got ‘til it’s gone,” Joni Mitchell warned us years ago. Alas, her rueful Zen koan emerged as the moviegoers’ mantra of 2020. So we continue to hone our home-viewing game until it’s safe to return to theaters. (April 1 at the earliest, I’m guessing, unless venues are allowed to reopen for those with proof of vaccination.)\u003c/p>\n\u003cp>If you haven’t already, then look beyond the well-combed playlists of the major streamers. Stop foraging for binge-worthy (or cringe-worthy) Euro-soaps and detective shows. Instead, watch a new movie via the local virtual cinemas (Roxie, Balboa/Vogue, Smith Rafael Film Center and BAMPFA) or video on demand. Don’t overlook the array of local film festivals, transported online and rife with revelations from around the world. The filmgoers’ mantra for 2021? Neil Young’s wry observation will do nicely for the first few months: “Motion pictures on my TV screen/A home away from home, livin’ in between.”\u003c/p>\n\u003cfigure id=\"attachment_13890979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg\" alt=\"Still from 'Blanco en Blanco,' playing as part of the SF Latino Film Festival. \" width=\"800\" height=\"500\" class=\"size-full wp-image-13890979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Blanco en Blanco,’ playing as part of the SF Latino Film Festival. \u003ccite>(Dir. Théo Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Latino Film Festival\u003c/h2>\n\u003cp>\u003cstrong>Through Jan. 10\u003c/strong>\u003cbr>\n\u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The \u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">S.F. Latino Film Festival\u003c/a> opened on Dec. 30, thus staking its claim to the first such event of 2021. A high-quality selection of recent narratives, documentaries and shorts from the southern tip of South America all the way up to Canada and beyond, the program is full of enticements.\u003c/p>\n\u003cp>I enjoyed Brazilian writer-director Déo Cardoso’s take-no-prisoners debut feature, \u003cem>Cabeça de Nêgo\u003c/em> (\u003cem>A Bruddah’s Mind\u003c/em>), a youth-in-revolt homage to the Black Panthers. A bookish Afro-Brazilian high school kid draws the line when another student calls him a monkey and the teacher punishes our ticked-off protagonist instead for mildly retaliating. Saulo initiates a one-man occupation, issuing a list of basic demands (current textbooks, no mice or roaches) and instigating a rally by his fellow students outside the school’s gates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saulo name-checks Angela Davis early in \u003cem>Cabeça de Nêgo\u003c/em>, but later confides that his favorite Panther is the charismatic Chicagoan Fred Hampton. It’s only after the movie’s tone darkens, as the authorities respond arrogantly, foolishly and violently to the student protest, that we grasp the full significance of Saulo’s identification. \u003c/p>\n\u003cp>\u003cem>Cabeca de Nêgo\u003c/em> effectively calls out (take a breath) racism, misogyny, militarism, the ruling class and the cooption of TV news, though the political commentary embedded organically in the storyline gives way in the last reel to overt polemics. Then again, the Black Panthers realized that subtlety wasn’t always conducive to social change. The revolution may not be televised, brothers and sisters, but it will be facilitated by cellphones.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, local filmmaker Claudia Escobar’s verité portrait of Bay Area singer-songwriter Diana Gameros, provides a welcome and poignant perspective on a less-discussed aspect of the immigration conundrum, namely the separation of undocumented Mexicans in the U.S. from their families.\u003c/p>\n\u003cp>Gameros attended a small Michigan college on a student visa, then continued her classes after her documents expired. She moved to San Francisco in the aughts, finding her voice and building a following in the Mission. Years went by, and she couldn’t return to her hometown of Juarez without the green card that would grant her reentry to the United States.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, which was produced by and will air on KQED later this year, is a unique profile of the artist as activist. (It’s appropriate that Joan Baez makes a brief appearance.) Although the documentary (which boasts a kicker climax) is choppy in places and held together by the quiet urgency of Gameros’ singing and the stark poetry of her lyrics, it is much more than a music film. Gameros embodies the responsibility of identity, the debt to family, the urge to create and thrive in the present and the influences of the past. Her gracefulness—and joy—as she navigates her path is quietly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_13890980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ReasonIJump.jpg\" alt=\"A still from 'The Reason I Jump.'\" width=\"800\" height=\"450\" class=\"size-full wp-image-13890980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Reason I Jump.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Reason I Jump’\u003c/h2>\n\u003cp>\u003cstrong>Opens Jan. 8\u003c/strong>\u003cbr>\nCinema SF (Vogue/Balboa), Roxie, Smith Rafael Film Center\u003c/p>\n\u003cp>Narrative and nonfiction directors have attempted to capture and convey the experience of every kind of physical and psychological experience, from blindness (\u003cem>The Miracle Worker\u003c/em>, \u003cem>Ray\u003c/em>) to deafness (\u003cem>In the Land of the Deaf\u003c/em>, \u003cem>Touch the Sound\u003c/em>) to paralysis (\u003cem>The Diving Bell and the Butterfly\u003c/em>) to mental illness (\u003cem>Fear Strikes Out\u003c/em>). The impulse in those movies, and their success, derives in no small measure from, as the late critic Roger Ebert put it, film’s special ability to function as a machine that generates empathy.\u003c/p>\n\u003cp>Jerry Rothwell’s remarkable documentary \u003cem>The Reason I Jump\u003c/em>, which won the Audience Award in the World Cinema Documentary sidebar at Sundance a year ago, does that and much more. It takes Naoki Higashida’s 2013 book, \u003cem>The Reason I Jump: The Inner Voice of a Thirteen-Year-Old Boy with Autism\u003c/em>, as its starting point and voiceover-narration thread. Impressionistic and sensation-alistic in its early stages, the film aspires to evoke autistic children’s impulsive reactions (to sensory stimulants like noise, light and color), their nonlinear sense of time and memory and their frustration at not being able to voice their feelings.\u003c/p>\n\u003cp>But the thing I learned, from the five children and their parents whom we meet in India, England, Virginia and Sierra Leone, is that neurotypicals (people with typical developmental, intellectual and cognitive abilities) \u003cem>can’t\u003c/em> perceive the world the way autistic people do. I can’t imagine, or identify with, their specific worlds. That said, I now see them with more humanity and, yes, empathy.\u003c/p>\n\u003cp>\u003cem>The Reason I Jump\u003c/em> includes a couple of what we could crassly call success stories, but it doesn’t peddle a Hollywood fantasy. At one point Amrit, an Indian girl who pours her vibrant inner world into colorful, geometrically clever drawings, receives a gallery show. But it’s not clear what she thinks of the whole production, and Rothwell allows the moment to pass without forcing an interpretation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Before Julie Andrews first sang “A Spoonful of Sugar,” its songwriter found inspiration for the iconic \u003cem>Mary Poppins\u003c/em> tune in an unlikely place.\u003c/p>\n\u003cp>The late Robert B. Sherman wrote it with his brother, Richard; many of the duo’s songs are featured in classic Walt Disney films. At StoryCorps last month, Robert’s son, Jeffrey, said that it was telling his father about getting the polio vaccine as a child that sparked the lyrics for the famous song.\u003c/p>\n\u003cp>Jeffrey, now 63, said his dad had a way with words.\u003c/p>\n\u003cp>“My dad always filtered everything down to its simplest form,” he said.\u003c/p>\n\u003cp>“People thought maybe he wasn’t listening, but he would always listen. And then he would form his words very carefully. … He wanted to just know words and he loved the sound of words and how they felt on your tongue.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ftxnr28LDXc\u003c/p>\n\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\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=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\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/ftxnr28LDXc'\n title='//www.youtube.com/embed/ftxnr28LDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\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=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "SF Approves In-Person Sundance Festival Screenings at Fort Mason Center",
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"content": "\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"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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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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",
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"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/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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