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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the house for a midday Saturday photo shoot. Late. Damn. Forgot my wallet. Double damn. Then, I noticed my passenger side tire was low on air. Slow leak? I didn’t know, and I wasn’t risking it. It was a sign: stay home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On average, 38,000 people in America die in car crashes each year. And the way 2020 has played out, with souls getting yanked from this big spinning rock at an alarming rate, I’m not risking anything.\u003c/p>\n\u003cp>This year, I’ve lost loved ones, and loved ones of loved ones. I’ve publicly mourned the passing of people I’ve never met—celebrities—but I celebrate their craft, and therefore celebrate their lives. And I’ve consumed far too much news about people, many of whom look like me, being killed by law enforcement.\u003c/p>\n\u003cp>Every time I pick up my phone, someone new has died. It’s not an exaggerated feeling. A \u003cem>lot\u003c/em> of people are dying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even if you exclude the \u003ca href=\"https://www.cnbc.com/2020/09/01/fauci-debunks-theories-of-low-cdc-coronavirus-death-toll-there-are-180000-plus-deaths-in-us.html\" target=\"_blank\" rel=\"noopener noreferrer\">over 180,000 people\u003c/a> in the US who’ve died of COVID thus far, this year has still had more excess deaths than normal. Excess deaths, or “excess mortality,” describes the number of people dying beyond what’s been predicted.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.marketwatch.com/story/the-excess-deaths-tally-in-the-us-is-204691-in-7-months-so-covid-19-deaths-might-be-undercounted-2020-08-13\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> from last month, Ronald D. Fricker Jr. noted the amount of actual deaths was at least 164,937 deaths above the expected count during the period of January 2020 through the start of August. Fricker, an Associate Dean of Virginia Tech College of Science, explained that if you were to subtract the deaths tagged as COVID-19-related, it still leaves over 16,000 deaths above the norm. In explaining the cause of those 16,000 deaths, Fricker writes, “COVID-19 deaths could be being undercounted, or the pandemic could also be causing increases in other types of death. It’s probably some of both.”\u003c/p>\n\u003cp>No matter the cause, clear across the board, the \u003ca href=\"https://www.cdc.gov/nchs/nvss/vsrr/covid19/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">CDC is reporting\u003c/a> a higher number of deaths this year than usual.\u003c/p>\n\u003cp>https://twitter.com/mrbrownsir/status/1299189751036215297\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he numbers are more than numbers. They’re a point of entry into understanding the mind-state that comes with not being able to mourn a death properly and fully before hearing word of another death. A drowning of a college friend followed that same week by the homicide of another. The unexpected passing of a friend’s father—the same friend who taught me about aspects of fatherhood. All of a sudden, for me, death seems ever-present.\u003c/p>\n\u003cp>The work of being a journalist doesn’t help the cause. Tragic deaths are a normal part of the news cycle; you’re not \u003cem>supposed\u003c/em> to be personally impacted.\u003c/p>\n\u003cp>But then came the death of Chadwick Boseman, and it wasn’t just about \u003cem>Black Panther\u003c/em>. Here’s a guy who graduated from the \u003ca href=\"https://bcnn1wp.wordpress.com/2018/05/02/black-panthers-chadwick-boseman-to-deliver-2018-commencement-address-at-his-alma-mater-howard-university/\" target=\"_blank\" rel=\"noopener noreferrer\">same institution of higher learning\u003c/a> I did, and went on to tell stories of Black folks, like I do. As a Black male artist, I felt him. Not that I was looking for role models or anything, but I’ll admit now that \u003ca href=\"https://www.huffpost.com/entry/42-review-jackie-robinson_b_3024551\" target=\"_blank\" rel=\"noopener noreferrer\">after being assigned to review \u003cem>42\u003c/em>\u003c/a>, the biopic of Jackie Robinson, I was compelled to take a movie poster home from the Jack London Square movie theatre lobby.\u003c/p>\n\u003cfigure id=\"attachment_13885682\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funeral.Flowers.jpg\" alt=\"Terrence Bardney of Leak and Sons' Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois.\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Terrence Bardney of Leak and Sons’ Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea of identifying with people who die is terrifying. That’s why the filmed shootings of Black people—men, women, trans or other—make me feel like a portion of myself has died, or will die soon.\u003c/p>\n\u003cp>It’s the sensation of impending doom, like the sword of Damocles is constantly suspended over my dome; I think about death every time I leave home. So this weekend I stayed at the crib.\u003c/p>\n\u003cp>Still, despite taking a bath to relax, I found myself gravitating toward the subject of death. I listened to the “Eulogy” clip from Richard Pryor’s “ … Is It Something I Said?” 1975 standup. I slapped Tupac’s “Death Around the Corner.” Re-read the circumstances around Lisa “Left Eye” Lopes’ death. Looked back at stories from 2006, the year Oakland had over 145 homicides—that was the first time I rationally felt the sensation of impending doom.\u003c/p>\n\u003cp>https://twitter.com/OGpenn/status/1299543808992968705\u003c/p>\n\u003cp>And I asked parent-Twitter if they had made it through this year without crying in front of their kids. The underlying notion being: crying is often the manifestation of the sadness that comes with the mourning process; and maybe even connected to further acknowledgement of your own mortality—which is a hard discussion when you’re looking in the face of your offspring.\u003c/p>\n\u003cp>I got hella responses to my somewhat rhetorical question. Just about every answer was “no.” People without kids said they teared up in front of their pets. Some folks said they cried for the first time last week.\u003c/p>\n\u003cp>But overall, a lot of people openly acknowledged being sad. And with deaths in this country through the roof, I’d be a fool to think I’m the only one grieving.\u003c/p>\n\u003cfigure id=\"attachment_13885684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg\" alt=\"Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama.\" width=\"1024\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-768x504.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama. \u003ccite>(Jessica McGowan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> needed some advice from a pro on this topic. Enter Angela Hennessy, \u003ca href=\"https://www.instagram.com/thehouseofhennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">a visual artist\u003c/a> and \u003ca href=\"https://portal.cca.edu/people/ahennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">associate professor\u003c/a> at California College of the Arts, where she teaches classes on “cultural narratives of death and contemporary art.” When asked how she identifies herself, Hennessy says, “I’m a survivor.”\u003c/p>\n\u003cp>In 2015 Hennessy was shot in the midst of trying to stop an assault. She tells me she’s been thinking about her own mortality ever since.\u003c/p>\n\u003cp>“Being aware of one’s mortality, and to let that impact the decisions we make on the day-to-day basis, that’s normal,” says Hennessy. “That knowledge has an impact on how you look into a loved one’s eyes.”\u003c/p>\n\u003cfigure id=\"attachment_13885702\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHennessy.jpg\" alt=\"Angela Hennessy's work is informed by a deep understanding of mortality.\" width=\"320\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy-160x200.jpg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy’s work is informed by a deep understanding of mortality. \u003ccite>(Instagram/Angela Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy says that people on their deathbed don’t question if they did “all the work” they were supposed to; they question if they loved, and if they were loved. “Death has a way of resetting priorities,” says Hennessy, lightening the tone of the conversation.\u003c/p>\n\u003cp>So are we, collectively, having a massive resetting of priorities right now?\u003c/p>\n\u003cp>Given this year’s public response to the systematic and individualized disregard for the lives of humans who are different than those who’ve traditionally held power in this land called America, it’s clear something is changing.\u003c/p>\n\u003cp>A metaphorical death, of sorts. And a new beginning? I hope so, and Hennessy somewhat agrees. But she notes that it leaves the question: if we’re living at a time when there is great transition, be it social change or people individually changing en masse, what’s our responsibility?\u003c/p>\n\u003cp>“That’s what I’m asking myself all the time,” says Hennessy, noting that in effort to find the answer, she often turns to rituals, altars and verbally acknowledging those who’ve passed.\u003c/p>\n\u003cp>“Death is everywhere, all the time. But we’ve got to \u003cem>see\u003c/em> it,” says Hennessy. She uses the lifecycle of plants to exemplify the presence of death. At the same time, plants show us the presence of life as well. And that aids her understanding of how to proceed in this world. Hennessy says, “That’s why I choose the color palettes I do—to engage with my ancestors. To let them know I’m here.” She tells me, “Some people run towards death, some people run away from it.”\u003c/p>\n\u003cfigure id=\"attachment_13885687\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg\" alt=\"Anglea Henessy, 'Mourning Wreath,' (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base.\" width=\"1024\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-768x528.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Anglea Henessy, ‘Mourning Wreath,’ (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base. \u003ccite>(Courtesy Angela Henessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Death is a part of life. That’s not a new concept to me, but it’s maybe something I’d forgotten because of the overwhelming amount of deaths in my circle this year. But I know balance exists in this universe.\u003c/p>\n\u003cp>Evidence isn’t just in Angela’s comments. It’s in the \u003ca href=\"https://population.un.org/wpp/Publications/Files/WPP2019_Highlights.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report from the CDC\u003c/a> that even with the high number of deaths in the United States this year, the amount of babies born will be greater than the number of people who pass. And that trend is expected to continue for some years to come.\u003c/p>\n\u003cp>It’s comforting to know the cycle of life is doing as it should. It’s reminiscent of that scene in \u003cem>Black Panther\u003c/em>, when King T’Chaka spoke to his son King T’Challa from the afterlife:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“A man who has not prepared his child for his own death has failed as a father. Have I ever failed you?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the house for a midday Saturday photo shoot. Late. Damn. Forgot my wallet. Double damn. Then, I noticed my passenger side tire was low on air. Slow leak? I didn’t know, and I wasn’t risking it. It was a sign: stay home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On average, 38,000 people in America die in car crashes each year. And the way 2020 has played out, with souls getting yanked from this big spinning rock at an alarming rate, I’m not risking anything.\u003c/p>\n\u003cp>This year, I’ve lost loved ones, and loved ones of loved ones. I’ve publicly mourned the passing of people I’ve never met—celebrities—but I celebrate their craft, and therefore celebrate their lives. And I’ve consumed far too much news about people, many of whom look like me, being killed by law enforcement.\u003c/p>\n\u003cp>Every time I pick up my phone, someone new has died. It’s not an exaggerated feeling. A \u003cem>lot\u003c/em> of people are dying.\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 exclude the \u003ca href=\"https://www.cnbc.com/2020/09/01/fauci-debunks-theories-of-low-cdc-coronavirus-death-toll-there-are-180000-plus-deaths-in-us.html\" target=\"_blank\" rel=\"noopener noreferrer\">over 180,000 people\u003c/a> in the US who’ve died of COVID thus far, this year has still had more excess deaths than normal. Excess deaths, or “excess mortality,” describes the number of people dying beyond what’s been predicted.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.marketwatch.com/story/the-excess-deaths-tally-in-the-us-is-204691-in-7-months-so-covid-19-deaths-might-be-undercounted-2020-08-13\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> from last month, Ronald D. Fricker Jr. noted the amount of actual deaths was at least 164,937 deaths above the expected count during the period of January 2020 through the start of August. Fricker, an Associate Dean of Virginia Tech College of Science, explained that if you were to subtract the deaths tagged as COVID-19-related, it still leaves over 16,000 deaths above the norm. In explaining the cause of those 16,000 deaths, Fricker writes, “COVID-19 deaths could be being undercounted, or the pandemic could also be causing increases in other types of death. It’s probably some of both.”\u003c/p>\n\u003cp>No matter the cause, clear across the board, the \u003ca href=\"https://www.cdc.gov/nchs/nvss/vsrr/covid19/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">CDC is reporting\u003c/a> a higher number of deaths this year than usual.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he numbers are more than numbers. They’re a point of entry into understanding the mind-state that comes with not being able to mourn a death properly and fully before hearing word of another death. A drowning of a college friend followed that same week by the homicide of another. The unexpected passing of a friend’s father—the same friend who taught me about aspects of fatherhood. All of a sudden, for me, death seems ever-present.\u003c/p>\n\u003cp>The work of being a journalist doesn’t help the cause. Tragic deaths are a normal part of the news cycle; you’re not \u003cem>supposed\u003c/em> to be personally impacted.\u003c/p>\n\u003cp>But then came the death of Chadwick Boseman, and it wasn’t just about \u003cem>Black Panther\u003c/em>. Here’s a guy who graduated from the \u003ca href=\"https://bcnn1wp.wordpress.com/2018/05/02/black-panthers-chadwick-boseman-to-deliver-2018-commencement-address-at-his-alma-mater-howard-university/\" target=\"_blank\" rel=\"noopener noreferrer\">same institution of higher learning\u003c/a> I did, and went on to tell stories of Black folks, like I do. As a Black male artist, I felt him. Not that I was looking for role models or anything, but I’ll admit now that \u003ca href=\"https://www.huffpost.com/entry/42-review-jackie-robinson_b_3024551\" target=\"_blank\" rel=\"noopener noreferrer\">after being assigned to review \u003cem>42\u003c/em>\u003c/a>, the biopic of Jackie Robinson, I was compelled to take a movie poster home from the Jack London Square movie theatre lobby.\u003c/p>\n\u003cfigure id=\"attachment_13885682\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funeral.Flowers.jpg\" alt=\"Terrence Bardney of Leak and Sons' Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois.\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Terrence Bardney of Leak and Sons’ Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea of identifying with people who die is terrifying. That’s why the filmed shootings of Black people—men, women, trans or other—make me feel like a portion of myself has died, or will die soon.\u003c/p>\n\u003cp>It’s the sensation of impending doom, like the sword of Damocles is constantly suspended over my dome; I think about death every time I leave home. So this weekend I stayed at the crib.\u003c/p>\n\u003cp>Still, despite taking a bath to relax, I found myself gravitating toward the subject of death. I listened to the “Eulogy” clip from Richard Pryor’s “ … Is It Something I Said?” 1975 standup. I slapped Tupac’s “Death Around the Corner.” Re-read the circumstances around Lisa “Left Eye” Lopes’ death. Looked back at stories from 2006, the year Oakland had over 145 homicides—that was the first time I rationally felt the sensation of impending doom.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And I asked parent-Twitter if they had made it through this year without crying in front of their kids. The underlying notion being: crying is often the manifestation of the sadness that comes with the mourning process; and maybe even connected to further acknowledgement of your own mortality—which is a hard discussion when you’re looking in the face of your offspring.\u003c/p>\n\u003cp>I got hella responses to my somewhat rhetorical question. Just about every answer was “no.” People without kids said they teared up in front of their pets. Some folks said they cried for the first time last week.\u003c/p>\n\u003cp>But overall, a lot of people openly acknowledged being sad. And with deaths in this country through the roof, I’d be a fool to think I’m the only one grieving.\u003c/p>\n\u003cfigure id=\"attachment_13885684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg\" alt=\"Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama.\" width=\"1024\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-768x504.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama. \u003ccite>(Jessica McGowan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> needed some advice from a pro on this topic. Enter Angela Hennessy, \u003ca href=\"https://www.instagram.com/thehouseofhennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">a visual artist\u003c/a> and \u003ca href=\"https://portal.cca.edu/people/ahennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">associate professor\u003c/a> at California College of the Arts, where she teaches classes on “cultural narratives of death and contemporary art.” When asked how she identifies herself, Hennessy says, “I’m a survivor.”\u003c/p>\n\u003cp>In 2015 Hennessy was shot in the midst of trying to stop an assault. She tells me she’s been thinking about her own mortality ever since.\u003c/p>\n\u003cp>“Being aware of one’s mortality, and to let that impact the decisions we make on the day-to-day basis, that’s normal,” says Hennessy. “That knowledge has an impact on how you look into a loved one’s eyes.”\u003c/p>\n\u003cfigure id=\"attachment_13885702\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHennessy.jpg\" alt=\"Angela Hennessy's work is informed by a deep understanding of mortality.\" width=\"320\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy-160x200.jpg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy’s work is informed by a deep understanding of mortality. \u003ccite>(Instagram/Angela Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy says that people on their deathbed don’t question if they did “all the work” they were supposed to; they question if they loved, and if they were loved. “Death has a way of resetting priorities,” says Hennessy, lightening the tone of the conversation.\u003c/p>\n\u003cp>So are we, collectively, having a massive resetting of priorities right now?\u003c/p>\n\u003cp>Given this year’s public response to the systematic and individualized disregard for the lives of humans who are different than those who’ve traditionally held power in this land called America, it’s clear something is changing.\u003c/p>\n\u003cp>A metaphorical death, of sorts. And a new beginning? I hope so, and Hennessy somewhat agrees. But she notes that it leaves the question: if we’re living at a time when there is great transition, be it social change or people individually changing en masse, what’s our responsibility?\u003c/p>\n\u003cp>“That’s what I’m asking myself all the time,” says Hennessy, noting that in effort to find the answer, she often turns to rituals, altars and verbally acknowledging those who’ve passed.\u003c/p>\n\u003cp>“Death is everywhere, all the time. But we’ve got to \u003cem>see\u003c/em> it,” says Hennessy. She uses the lifecycle of plants to exemplify the presence of death. At the same time, plants show us the presence of life as well. And that aids her understanding of how to proceed in this world. Hennessy says, “That’s why I choose the color palettes I do—to engage with my ancestors. To let them know I’m here.” She tells me, “Some people run towards death, some people run away from it.”\u003c/p>\n\u003cfigure id=\"attachment_13885687\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg\" alt=\"Anglea Henessy, 'Mourning Wreath,' (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base.\" width=\"1024\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-768x528.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Anglea Henessy, ‘Mourning Wreath,’ (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base. \u003ccite>(Courtesy Angela Henessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Death is a part of life. That’s not a new concept to me, but it’s maybe something I’d forgotten because of the overwhelming amount of deaths in my circle this year. But I know balance exists in this universe.\u003c/p>\n\u003cp>Evidence isn’t just in Angela’s comments. It’s in the \u003ca href=\"https://population.un.org/wpp/Publications/Files/WPP2019_Highlights.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report from the CDC\u003c/a> that even with the high number of deaths in the United States this year, the amount of babies born will be greater than the number of people who pass. And that trend is expected to continue for some years to come.\u003c/p>\n\u003cp>It’s comforting to know the cycle of life is doing as it should. It’s reminiscent of that scene in \u003cem>Black Panther\u003c/em>, when King T’Chaka spoke to his son King T’Challa from the afterlife:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A man who has not prepared his child for his own death has failed as a father. Have I ever failed you?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Chadwick Boseman, who played Black icons Jackie Robinson and James Brown before finding fame as the regal Black Panther in the Marvel cinematic universe, died Friday of cancer, his representative said. He was 43.\u003c/p>\n\u003cp>Boseman died at his home in the Los Angeles area with his wife and family by his side, his publicist Nicki Fioravante told The Associated Press.\u003c/p>\n\u003cp>https://twitter.com/badboi861/status/1299737174867230720\u003c/p>\n\u003cp>Boseman was diagnosed with colon cancer four years ago, his family said in a statement.\u003c/p>\n\u003cp>“A true fighter, Chadwick persevered through it all, and brought you many of the films you have come to love so much,” his family said in the statement. “From \u003cem>Marshall\u003c/em> to \u003cem>Da 5 Bloods\u003c/em>, August Wilson’s \u003cem>Ma Rainey’s Black Bottom\u003c/em> and several more—all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in \u003cem>Black Panther.\u003c/em>”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boseman had not spoken publicly about his diagnosis.\u003c/p>\n\u003cp>https://twitter.com/JoeSaunders/status/1299644704242511872\u003c/p>\n\u003cp>Born in South Carolina, Boseman graduated from Howard University and had small roles in television before his first star turn in 2013. His striking portrayal of the stoic baseball star Robinson opposite Harrison Ford in 2013′s \u003cem>42\u003c/em> drew attention in Hollywood.\u003c/p>\n\u003cp>Boseman died on a day that Major League Baseball was celebrating Jackie Robinson day.\u003c/p>\n\u003cp>His T’Challa character was first introduced to the blockbuster Marvel movies in 2016′s \u003cem>Captain America: Civil War\u003c/em>, and his “Wakanda Forever” salute reverberated around the world after the release of \u003cem>Black Panther\u003c/em> two years ago.\u003c/p>\n\u003cp>https://twitter.com/SantiagoMejia/status/1299558558397202437\u003c/p>\n\u003cp>“This is a crushing blow” actor and director Jordan Peele said on Twitter, one of many expressing shock as the news spread across social media.\u003c/p>\n\u003cp>“This broke me,” said actor and writer Issa Rae.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Born in South Carolina, Boseman graduated from Howard University and had small roles in television before his first star turn in 2013. His striking portrayal of the stoic baseball star Robinson opposite Harrison Ford in 2013′s \u003cem>42\u003c/em> drew attention in Hollywood.\u003c/p>\n\u003cp>Boseman died on a day that Major League Baseball was celebrating Jackie Robinson day.\u003c/p>\n\u003cp>His T’Challa character was first introduced to the blockbuster Marvel movies in 2016′s \u003cem>Captain America: Civil War\u003c/em>, and his “Wakanda Forever” salute reverberated around the world after the release of \u003cem>Black Panther\u003c/em> two years ago.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mqg48h_uKYM\u003c/p>\n\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\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/mqg48h_uKYM'\n title='//www.youtube.com/embed/mqg48h_uKYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZGcmvrTX9M\u003c/p>\n\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\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/AZGcmvrTX9M'\n title='//www.youtube.com/embed/AZGcmvrTX9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Now Playing! Soul and Scottish Hijinks on the Home Screen | KQED",
"content": "\u003cp>If there’s such a thing as summer noir, we’re caught in one. One hazy day follows another, frustration edging toward desperation, ennui curdling into recklessness. The lone saving grace is that with the saloons mostly closed—their murky interiors, at least—our chances of being lured into a doomed scheme by a slickly smooth guy or gal at the end of the bar are greatly reduced.\u003c/p>\n\u003cp>The cure for the summertime blues, if I may challenge the teenage wisdom of rock ’n’ roll immortal Eddie Cochran, is cinema. Even if we can’t avail ourselves of the air-conditioned, freshly popped respite of the theater, we can lift our spirits with trips to distant climes or times.\u003c/p>\n\u003cp>https://youtu.be/Ab_agjSoGbI\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://sfbff.org/wordpress/category/2020\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Black Film Festival\u003c/a>\u003c/b>\u003cbr>\nThrough Aug. 30\u003c/p>\n\u003cp>But not just yet. Amplifying the tenor of the times, this year’s extended S.F. Black Film Festival spotlights realities that far too many people beyond the Black community have avoided. The pain is pervasive, and intensified by the Aug. 7 passing of SFBFF co-director Kali O Ray following a stroke. Escapism is not on the program, not this year.\u003c/p>\n\u003cp>The lineup is expansive and eclectic, a mix of shorts and features, either free or affordably priced. New titles go up on the site a couple times a day. On the nonfiction side, Daryl B. Jones’ \u003cem>\u003ca href=\"https://2020.ticketspice.com/tender\" rel=\"noopener noreferrer\" target=\"_blank\">Tender\u003c/a>\u003c/em> casts an empathetic eye on the housing struggles of Black trans women in the Tenderloin. Halfway around the globe, Iké Udé’s \u003cem>\u003ca href=\"https://sfbff.org/wordpress/nollywood-in-focus-2\" rel=\"noopener noreferrer\" target=\"_blank\">Nollywood in Focus\u003c/a>\u003c/em> takes us behind the scenes of the Nigerian film industry.\u003c/p>\n\u003cp>The fiction offerings include Shabazza Hameed’s short \u003cem>\u003ca href=\"https://sfbff.org/wordpress/unordinary-occurrence-3\" rel=\"noopener noreferrer\" target=\"_blank\">Unordinary Occurrence\u003c/a>\u003c/em>, in which the protagonist is put in an awkward but potentially rewarding spot by a co-worker. In local filmmaker Sephora Woldu’s semi-autobiographical feature debut, \u003cem>\u003ca href=\"https://sfbff.org/wordpress/the-hustle-trailer-reveals-anne-hathaway-and-rebel-wilson-in-comedy-remake\" rel=\"noopener noreferrer\" target=\"_blank\">Life is Fare\u003c/a>\u003c/em>, a young Eritrean-American filmmaker imagines an Eritrean immigrant grappling with his culture and identity in San Francisco. The S.F. Black Film Festival continues online through Aug. 30.\u003c/p>\n\u003cfigure id=\"attachment_13885343\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR.jpg\" alt=\"\" width=\"793\" height=\"537\" class=\"size-full wp-image-13885343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR-768x520.jpg 768w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Host/producer/creator of the television show ‘Soul!’ Ellis Haizlip, surrounded by members of the J.C. White Choir. \u003ccite>(Courtesy of Shoes in the Bed Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Mr. Soul!\u003c/em>\u003c/b>\u003cbr>\nOpens Aug. 28\u003cbr>\n\u003ca href=\"https://www.mrsoulmovie.com\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming via local theaters\u003c/a>\u003c/p>\n\u003cp>From 1968 to 1973, New York City’s public TV station produced, aired and syndicated a weekly Black variety show to PBS stations around the country. Ellis Haizlip, a fearless producer of theatrical, dramatic and musical works that encompassed James Baldwin’s \u003cem>The Amen Corner\u003c/em> and the Alvin Ailey American Dance Theater, was the producer and host of the perfectly named \u003ci>Soul!\u003c/i> Seizing the medium and the moment, Haizlip was a soft-spoken man on a mission.\u003c/p>\n\u003cp>Haizlip gave a platform to Black artists whom every other TV show ignored or didn’t know, and he inspired Black viewers with a constellation of talent and ideas. But his mandate went far beyond showcasing organist Billy Preston and the God Squad or introducing balladeers like Ashford & Simpson. Haizlip routinely booked radical poets like Nikki Giovanni and Amiri Baraka (with the Pharoah Sanders Ensemble), and presented dance performances choreographed by George Faison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To Haizlip, culture wasn’t just entertainment but an avenue of self-expression. He used \u003ci>Soul!\u003c/i> to demonstrate, week after week, the glittering boulevard of Black culture that mainstream (white) culture didn’t recognize or value. The vestiges of that disrespect still linger, given how long it took Melissa Haizlip, Ellis’s niece, to fund and produce \u003cem>Mr. Soul!\u003c/em>\u003c/p>\n\u003cp>The major frustration of \u003cem>Mr. Soul!\u003c/em>, putting aside the two-plus years it’s taken to reach theaters since its festival premiere, is that the sheer number of vintage clips and contemporary interviews preclude lengthy chunks of joyful individual performances. \u003cem>Mr. Soul!\u003c/em> will air later this year on PBS’ \u003ci>Independent Lens\u003c/i>, but don’t wait: Half a century on, we still need to be reminded of the breadth and richness of the Black experience in America.\u003c/p>\n\u003cfigure id=\"attachment_13885344\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Izzard and Georgie Glen in ‘Get Duked!’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Get Duked!\u003c/em>\u003c/b>\u003cbr>\nPremieres Aug. 28\u003cbr>\n\u003ca href=\"https://www.amazon.com/Get-Duked-Eddie-Izzard/dp/B08DWPMBH4\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003c/p>\n\u003cp>The aforementioned escapism comes all the way from Scotland, where the gulf between the moneyed class and the underclass is as apparent as everywhere else. And where the myth of the natural, bucolic countryside holds sway, as it does here, in contrast to the despoiled cities and suburbs.\u003c/p>\n\u003cp>For his feature debut, music video veteran Ninian Doff has written and directed a diverting fish-out-of-water comedy that takes to heart Warren Buffett’s quote: “There’s class warfare, all right, but it’s my class, the rich class, that’s making war, and we’re winning.” \u003cem>Get Duked!\u003c/em> sets four Glasgow youths loose on the Highlands in reluctant overland pursuit of the Duke of Edinburgh Award for navigation and survival, but the joke’s on them: They are this week’s long-range rifle fodder for a crusty but well-preserved Duke (Eddie Izzard).\u003c/p>\n\u003cp>A couple of earnest-but-dim back-country coppers (Kate Dickie and Kevin Guthrie, enjoying every humiliating moment of their stereotypical roles) contribute to the open-air commotion, but we’re a long way from \u003cem>Fargo\u003c/em>. (And \u003cem>The Most Dangerous Game\u003c/em>.) The grit and the gore are minimal, and the moral of the story (teamwork, lads!) will come as no surprise. The warm heart of this enjoyable movie is the dynamic among the four teenage goofballs, with Viraj Juneja standing out as DJ Beatroot, a middle-class South Asian who imagines he’s a swaggering rapper.\u003c/p>\n\u003cp>\u003cem>Get Duked!\u003c/em> won an audience award at South by Southwest a year ago, and it’s worth a late-night ramble after a long day-hike, a good meal, a few drinks and a hit of legal produce from your local dispensary. The real world will seem far, far away.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s such a thing as summer noir, we’re caught in one. One hazy day follows another, frustration edging toward desperation, ennui curdling into recklessness. The lone saving grace is that with the saloons mostly closed—their murky interiors, at least—our chances of being lured into a doomed scheme by a slickly smooth guy or gal at the end of the bar are greatly reduced.\u003c/p>\n\u003cp>The cure for the summertime blues, if I may challenge the teenage wisdom of rock ’n’ roll immortal Eddie Cochran, is cinema. Even if we can’t avail ourselves of the air-conditioned, freshly popped respite of the theater, we can lift our spirits with trips to distant climes or times.\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/Ab_agjSoGbI'\n title='//www.youtube.com/embed/Ab_agjSoGbI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"https://sfbff.org/wordpress/category/2020\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Black Film Festival\u003c/a>\u003c/b>\u003cbr>\nThrough Aug. 30\u003c/p>\n\u003cp>But not just yet. Amplifying the tenor of the times, this year’s extended S.F. Black Film Festival spotlights realities that far too many people beyond the Black community have avoided. The pain is pervasive, and intensified by the Aug. 7 passing of SFBFF co-director Kali O Ray following a stroke. Escapism is not on the program, not this year.\u003c/p>\n\u003cp>The lineup is expansive and eclectic, a mix of shorts and features, either free or affordably priced. New titles go up on the site a couple times a day. On the nonfiction side, Daryl B. Jones’ \u003cem>\u003ca href=\"https://2020.ticketspice.com/tender\" rel=\"noopener noreferrer\" target=\"_blank\">Tender\u003c/a>\u003c/em> casts an empathetic eye on the housing struggles of Black trans women in the Tenderloin. Halfway around the globe, Iké Udé’s \u003cem>\u003ca href=\"https://sfbff.org/wordpress/nollywood-in-focus-2\" rel=\"noopener noreferrer\" target=\"_blank\">Nollywood in Focus\u003c/a>\u003c/em> takes us behind the scenes of the Nigerian film industry.\u003c/p>\n\u003cp>The fiction offerings include Shabazza Hameed’s short \u003cem>\u003ca href=\"https://sfbff.org/wordpress/unordinary-occurrence-3\" rel=\"noopener noreferrer\" target=\"_blank\">Unordinary Occurrence\u003c/a>\u003c/em>, in which the protagonist is put in an awkward but potentially rewarding spot by a co-worker. In local filmmaker Sephora Woldu’s semi-autobiographical feature debut, \u003cem>\u003ca href=\"https://sfbff.org/wordpress/the-hustle-trailer-reveals-anne-hathaway-and-rebel-wilson-in-comedy-remake\" rel=\"noopener noreferrer\" target=\"_blank\">Life is Fare\u003c/a>\u003c/em>, a young Eritrean-American filmmaker imagines an Eritrean immigrant grappling with his culture and identity in San Francisco. The S.F. Black Film Festival continues online through Aug. 30.\u003c/p>\n\u003cfigure id=\"attachment_13885343\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR.jpg\" alt=\"\" width=\"793\" height=\"537\" class=\"size-full wp-image-13885343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/MR_SOUL_ELLIS_JC_WHITE_CHOIR-768x520.jpg 768w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Host/producer/creator of the television show ‘Soul!’ Ellis Haizlip, surrounded by members of the J.C. White Choir. \u003ccite>(Courtesy of Shoes in the Bed Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Mr. Soul!\u003c/em>\u003c/b>\u003cbr>\nOpens Aug. 28\u003cbr>\n\u003ca href=\"https://www.mrsoulmovie.com\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming via local theaters\u003c/a>\u003c/p>\n\u003cp>From 1968 to 1973, New York City’s public TV station produced, aired and syndicated a weekly Black variety show to PBS stations around the country. Ellis Haizlip, a fearless producer of theatrical, dramatic and musical works that encompassed James Baldwin’s \u003cem>The Amen Corner\u003c/em> and the Alvin Ailey American Dance Theater, was the producer and host of the perfectly named \u003ci>Soul!\u003c/i> Seizing the medium and the moment, Haizlip was a soft-spoken man on a mission.\u003c/p>\n\u003cp>Haizlip gave a platform to Black artists whom every other TV show ignored or didn’t know, and he inspired Black viewers with a constellation of talent and ideas. But his mandate went far beyond showcasing organist Billy Preston and the God Squad or introducing balladeers like Ashford & Simpson. Haizlip routinely booked radical poets like Nikki Giovanni and Amiri Baraka (with the Pharoah Sanders Ensemble), and presented dance performances choreographed by George Faison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Haizlip, culture wasn’t just entertainment but an avenue of self-expression. He used \u003ci>Soul!\u003c/i> to demonstrate, week after week, the glittering boulevard of Black culture that mainstream (white) culture didn’t recognize or value. The vestiges of that disrespect still linger, given how long it took Melissa Haizlip, Ellis’s niece, to fund and produce \u003cem>Mr. Soul!\u003c/em>\u003c/p>\n\u003cp>The major frustration of \u003cem>Mr. Soul!\u003c/em>, putting aside the two-plus years it’s taken to reach theaters since its festival premiere, is that the sheer number of vintage clips and contemporary interviews preclude lengthy chunks of joyful individual performances. \u003cem>Mr. Soul!\u003c/em> will air later this year on PBS’ \u003ci>Independent Lens\u003c/i>, but don’t wait: Half a century on, we still need to be reminded of the breadth and richness of the Black experience in America.\u003c/p>\n\u003cfigure id=\"attachment_13885344\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/get-duked-BITW_Unit_00024R_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Izzard and Georgie Glen in ‘Get Duked!’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Get Duked!\u003c/em>\u003c/b>\u003cbr>\nPremieres Aug. 28\u003cbr>\n\u003ca href=\"https://www.amazon.com/Get-Duked-Eddie-Izzard/dp/B08DWPMBH4\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003c/p>\n\u003cp>The aforementioned escapism comes all the way from Scotland, where the gulf between the moneyed class and the underclass is as apparent as everywhere else. And where the myth of the natural, bucolic countryside holds sway, as it does here, in contrast to the despoiled cities and suburbs.\u003c/p>\n\u003cp>For his feature debut, music video veteran Ninian Doff has written and directed a diverting fish-out-of-water comedy that takes to heart Warren Buffett’s quote: “There’s class warfare, all right, but it’s my class, the rich class, that’s making war, and we’re winning.” \u003cem>Get Duked!\u003c/em> sets four Glasgow youths loose on the Highlands in reluctant overland pursuit of the Duke of Edinburgh Award for navigation and survival, but the joke’s on them: They are this week’s long-range rifle fodder for a crusty but well-preserved Duke (Eddie Izzard).\u003c/p>\n\u003cp>A couple of earnest-but-dim back-country coppers (Kate Dickie and Kevin Guthrie, enjoying every humiliating moment of their stereotypical roles) contribute to the open-air commotion, but we’re a long way from \u003cem>Fargo\u003c/em>. (And \u003cem>The Most Dangerous Game\u003c/em>.) The grit and the gore are minimal, and the moral of the story (teamwork, lads!) will come as no surprise. The warm heart of this enjoyable movie is the dynamic among the four teenage goofballs, with Viraj Juneja standing out as DJ Beatroot, a middle-class South Asian who imagines he’s a swaggering rapper.\u003c/p>\n\u003cp>\u003cem>Get Duked!\u003c/em> won an audience award at South by Southwest a year ago, and it’s worth a late-night ramble after a long day-hike, a good meal, a few drinks and a hit of legal produce from your local dispensary. The real world will seem far, far away.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
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"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bill and Ted Are Back to 'Face The Music'—In Movie Theaters",
"headTitle": "Bill and Ted Are Back to ‘Face The Music’—In Movie Theaters | KQED",
"content": "\u003cp>Bill S. Preston Esquire and Ted “Theodore” Logan have been to heaven and hell, the past and the future. They’ve befriended Abraham Lincoln and Joan of Arc. They’ve bested the Grim Reaper in a game of Battleship.\u003c/p>\n\u003cp>Now, nearly 30 years after we last saw them, the duo reunite in the new movie, \u003cem>Bill & Ted Face the Music.\u003c/em>\u003c/p>\n\u003cp>“We were excited by the idea that we first heard from the writers,” says Alex Winter, who plays Bill, “and then we had to set about actually finding these guys again.” How did they do that? “Magic,” Winter jokes.\u003c/p>\n\u003cp>Keanu Reeves, who plays Ted, chimes in: “Working on the script, and working with the director Dean Parisot, the writers, Chris Matheson and Ed Solomon were really collaborative with is. And Alex and I just internally kind of rehearsing with each other, and just got to that first day—and the first shot we had to get in the phone booth, and there we were. And here we go.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1gPGeAYo3yU\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting into character as Bill and Ted, 30 years on\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Winter: There was kind of a two pronged approach to the preparation. There was figuring out who these guys were at this point in their lives in a very kind of story-driven way. And as Keanu said, that was about he and I working together and looking at just the actual circumstances of these guys in their lives. And that was fun. But then there was a whole kind of physical preparation because there was this crazy narrative of us acting opposite all these different versions of ourselves. And so finding the physicality of present day Bill and Ted, and then finding the physicality of all these different versions of us, took a little bit of time too, but it was fun.\u003c/p>\n\u003cp>Reeves: We really were reacting to the writers and their idea that our characters 30 years ago had this destiny and they didn’t fulfill it. So this idea of where are they now? It was like, who are these guys now? They’re offered another kind of chance, but that’s even more, in a Bill and Ted way, ridiculous, you know, and I thought that model felt like a worthwhile and funny idea.\u003c/p>\n\u003cp>\u003cstrong>Reeves on what playing Bill taught him about comedy, and whether people confused him with the character\u003c/strong>\u003c/p>\n\u003cp>I was from the critics and journalists, but not by the industry. But in terms of, I guess, comedy—you just can’t play funny. You know, you have to play the real of it. And then hopefully the funny will come after that. But that’s not to say that there are techniques and skills and … timing. I think you just have to do it, you have to practice, and you have to consider it.\u003c/p>\n\u003cp>\u003cstrong>On the fact that \u003cem>Face the Music\u003c/em> will be one of the first pandemic-era films shown in theaters.\u003c/strong>\u003c/p>\n\u003cp>Winter: I think that the industry is rightly very concerned about the cinema experience, but also they’re very concerned about the economics for exhibitors who, you know—keep the movie business alive and we want the exhibitors to stay afloat at the same time. We want people to be safe in a pandemic. And people need to be given an option to watch this movie safely at home. So we feel really good about the fact that the studio is willing to throw in behind that rollout plan. But we are also looking forward to a world in which the movie experience is back.\u003c/p>\n\u003cp>Reeves: I mean, I think everyone’s going to put all the protocols in place to make it as safe as possible for people who do feel comfortable. That opportunity presents itself if they want to go to the cinema. And it’s also on pay per view or streaming. So there’s that option as well.\u003c/p>\n\u003cp>\u003cstrong>On what they want audiences to get out of the return of Bill and Ted\u003c/strong>\u003c/p>\n\u003cp>Reeves: Wow, just to laugh, to enjoy the ride, to, you know, feel good, feel positive and to share that, spread that around.\u003c/p>\n\u003cp>Winter: People have a an inclination to be weighed down by the gravitas of what’s going on in the world at the moment. But I do think that cinema gives you an outlet for certain emotions in a collective way. And the film doesn’t take itself seriously. It’s not trying to present a message, but it has themes, and the themes are quite sweet and lovely. And the theme of this movie is very much about the whole world coming together and helping one another. But it’s also, there’s a lot of whimsy, and I think an hour and a half of genuine, open-hearted, innocent whimsy may not be the worst thing for people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Danny Hensel and Ed McNulty, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Not+Heinous+At+All%3A+Bill+And+Ted+Are+Back+To+%27Face+The+Music%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill S. Preston Esquire and Ted “Theodore” Logan have been to heaven and hell, the past and the future. They’ve befriended Abraham Lincoln and Joan of Arc. They’ve bested the Grim Reaper in a game of Battleship.\u003c/p>\n\u003cp>Now, nearly 30 years after we last saw them, the duo reunite in the new movie, \u003cem>Bill & Ted Face the Music.\u003c/em>\u003c/p>\n\u003cp>“We were excited by the idea that we first heard from the writers,” says Alex Winter, who plays Bill, “and then we had to set about actually finding these guys again.” How did they do that? “Magic,” Winter jokes.\u003c/p>\n\u003cp>Keanu Reeves, who plays Ted, chimes in: “Working on the script, and working with the director Dean Parisot, the writers, Chris Matheson and Ed Solomon were really collaborative with is. And Alex and I just internally kind of rehearsing with each other, and just got to that first day—and the first shot we had to get in the phone booth, and there we were. And here we go.”\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/1gPGeAYo3yU'\n title='//www.youtube.com/embed/1gPGeAYo3yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting into character as Bill and Ted, 30 years on\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winter: There was kind of a two pronged approach to the preparation. There was figuring out who these guys were at this point in their lives in a very kind of story-driven way. And as Keanu said, that was about he and I working together and looking at just the actual circumstances of these guys in their lives. And that was fun. But then there was a whole kind of physical preparation because there was this crazy narrative of us acting opposite all these different versions of ourselves. And so finding the physicality of present day Bill and Ted, and then finding the physicality of all these different versions of us, took a little bit of time too, but it was fun.\u003c/p>\n\u003cp>Reeves: We really were reacting to the writers and their idea that our characters 30 years ago had this destiny and they didn’t fulfill it. So this idea of where are they now? It was like, who are these guys now? They’re offered another kind of chance, but that’s even more, in a Bill and Ted way, ridiculous, you know, and I thought that model felt like a worthwhile and funny idea.\u003c/p>\n\u003cp>\u003cstrong>Reeves on what playing Bill taught him about comedy, and whether people confused him with the character\u003c/strong>\u003c/p>\n\u003cp>I was from the critics and journalists, but not by the industry. But in terms of, I guess, comedy—you just can’t play funny. You know, you have to play the real of it. And then hopefully the funny will come after that. But that’s not to say that there are techniques and skills and … timing. I think you just have to do it, you have to practice, and you have to consider it.\u003c/p>\n\u003cp>\u003cstrong>On the fact that \u003cem>Face the Music\u003c/em> will be one of the first pandemic-era films shown in theaters.\u003c/strong>\u003c/p>\n\u003cp>Winter: I think that the industry is rightly very concerned about the cinema experience, but also they’re very concerned about the economics for exhibitors who, you know—keep the movie business alive and we want the exhibitors to stay afloat at the same time. We want people to be safe in a pandemic. And people need to be given an option to watch this movie safely at home. So we feel really good about the fact that the studio is willing to throw in behind that rollout plan. But we are also looking forward to a world in which the movie experience is back.\u003c/p>\n\u003cp>Reeves: I mean, I think everyone’s going to put all the protocols in place to make it as safe as possible for people who do feel comfortable. That opportunity presents itself if they want to go to the cinema. And it’s also on pay per view or streaming. So there’s that option as well.\u003c/p>\n\u003cp>\u003cstrong>On what they want audiences to get out of the return of Bill and Ted\u003c/strong>\u003c/p>\n\u003cp>Reeves: Wow, just to laugh, to enjoy the ride, to, you know, feel good, feel positive and to share that, spread that around.\u003c/p>\n\u003cp>Winter: People have a an inclination to be weighed down by the gravitas of what’s going on in the world at the moment. But I do think that cinema gives you an outlet for certain emotions in a collective way. And the film doesn’t take itself seriously. It’s not trying to present a message, but it has themes, and the themes are quite sweet and lovely. And the theme of this movie is very much about the whole world coming together and helping one another. But it’s also, there’s a lot of whimsy, and I think an hour and a half of genuine, open-hearted, innocent whimsy may not be the worst thing for people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Danny Hensel and Ed McNulty, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Not+Heinous+At+All%3A+Bill+And+Ted+Are+Back+To+%27Face+The+Music%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At a Crossroads: SF Cinematheque’s Avant-Garde Festival Goes Online",
"headTitle": "At a Crossroads: SF Cinematheque’s Avant-Garde Festival Goes Online | KQED",
"content": "\u003cp>Eleven years after Steve Polta launched Crossroads, San Francisco Cinematheque’s annual festival of experimental film and video has established itself as one of the top stops on the avant-garde calendar. Filmgoers who crowd the Victoria Theatre and SFMOMA’s Phyllis Wattis Theater every June (in a typical year, that is) know they’re seeing the global cream of the avant-garde crop. \u003c/p>\n\u003cp>[aside postID='arts_13884924']\u003ca href=\"http://www.sfcinematheque.org/festival/crossroads-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a> began yesterday, with nine programs and 85 films livestreaming for free through Aug. 29. In addition, the entire lineup is online through Sept. 30.\u003c/p>\n\u003cp>The festival’s loyal audience may be surprised to learn that showing movies is not the institution’s raison d’être. “The mission of the Cinematheque is to cultivate the international field of artist-made film,” Polta says. “Presenting the festival is one of the ways we do that.”\u003c/p>\n\u003cp>The artists, consequently, have embraced the necessary transition from the SFMOMA screen to an online portal. “A lot of filmmakers are actually heartened that Crossroads is still going on, and do feel it is a way of gesturing to community,” Polta says.\u003c/p>\n\u003cp>https://vimeo.com/440844693\u003c/p>\n\u003cp>Filmmakers around the world, as well as around the country, have heard the Cinematheque’s call. That might account for Polta’s unsettling realization as he sifted through the stack of Crossroads submissions back in February. Even though they were conceived and completed before anyone had ever heard of shelter in place or social distancing, many of the films had a dystopian vibe.\u003c/p>\n\u003cp>“I was kind of panicked about it,” Polta recalls. “I said to someone, ‘These movies are so dark and dismal.’ They replied, ‘Well, you know, look around. What do you expect?’” The good news, six months into the pandemic? “The films don’t feel as bad now, compared to what’s actually happening in the world,” Polta says with a wry chuckle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crossroads’ appeal to filmmakers from abroad suggests that Trumpism isn’t the only source of discontent, and that a more generalized pessimism is infecting many artists in their 20s. As an antidote of sorts, Polta has bookended the festival with programs that hearken to better times. \u003c/p>\n\u003cp>The opener, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-1/\" rel=\"noopener noreferrer\" target=\"_blank\">Ever Westward: Remembering Bruce Baillie\u003c/a>,” pays tribute to the filmmaker who birthed Cinematheque some 60 years ago on a bedsheet in a Northern California backyard. (Baillie, who died in April, was also one of the founders of the distribution cooperative Canyon Cinema.) The tribute includes his quintessential single-shot slice of summer, \u003cem>All My Life\u003c/em>, from 1966, which languidly pans across a roadside fence overgrown with flowers in front of a blue sky while Ella Fitzgerald sings with the Teddy Wilson Orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13885186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13885186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Baillie, Still from ‘All My Life,’ 1966. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bruce was a major filmmaker affiliated with the ’60s trend of lyrical filmmaking,” Polta says. “His films are visually beautiful, they veer away from language and narrative and are about sensual encounters with life. He was alive with this ’60s counterculture thing: living in communes, living in his vehicle, traveling all through the West, and living this beatnik poet life. I think there’s something utopian in that lifestyle. You can critique it in the same way you can critique Kerouac—white male doing what he wants in the world—but there’s also something free and utopian about it, in contrast with online culture.”\u003c/p>\n\u003cp>The final program, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-9/\" rel=\"noopener noreferrer\" target=\"_blank\">as long as there is breath\u003c/a>,” takes its title from local filmmaker Emily Chao’s redolent meditation on isolation, memory, the natural world and, as its title suggests, an open-ended future. A short, late addition to the Crossroads lineup that Chao finished while she was stuck inside like the rest of us, it is as addictive as a pop song or an Emily Dickinson poem.\u003c/p>\n\u003cp>Polta included \u003cem>All My Life\u003c/em> in “as long as there is breath” as well, surrounded by new work. “There’s a certain bittersweet celebration of freedom in the last program that echoes the freedom in the Bruce Baillie program,” Polta says. An ease and abandon that is not much present while sheltering in place, nor for that matter in pre-COVID internet culture.\u003c/p>\n\u003cp>Our experience of the virus and the last several months informs how audiences will view both individual works and entire programs, of course. Another factor is the dynamic of online viewing. Polta imagines intriguing contexts for presenting experimental and avant-garde film in the virtual space, and has some online programs in the pipeline for later this year, but the 2020 Crossroads that he envisioned and assembled was an in-person event.\u003c/p>\n\u003cfigure id=\"attachment_13885188\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Luther-Price_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13885188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Luther Price’s ‘A Patch of Green,’ 2004–05. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My curatorial interest is work that is sensorially immersive, and how it functions in the darkened space,” Polta explains. “Viewers agree to put themselves in a kind of submissive or receptive state to whatever’s going to happen. You’re looking at something that has a bigger-than-life scale that could be working on you in registers that are doing things to the physical mechanisms of your eyes and ears.”\u003c/p>\n\u003cp>This is especially true of experimental film, with its purposeful attention to editing rhythm, light and darkness, asynchronous sound, manipulated archival footage and onscreen text. But the phenomenon that Polta is describing applies to other big-screen motion pictures, as well.\u003c/p>\n\u003cp>“There’s something about the experience that’s unstoppable,” Polta notes. “This is not something we get when we’re viewing at home. Looking at something on a computer screen, or even a TV screen, is different. It’s not monolithic. The potential for something being overwhelming is really diminished.”\u003c/p>\n\u003cp>Yet another key element of theatrical screenings is what filmmaker Mike Hoolboom calls “a choir of attention.” There are a lot of social aspects to seeing films with lots of strangers, notably the shared experience. Polta’s approach to curating is driven in large part by how films collide with each other when screened back to back, and the cumulative effect of the individual program. \u003c/p>\n\u003cfigure id=\"attachment_13885187\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Apertures_1200.jpg\" alt=\"\" width=\"1200\" height=\"846\" class=\"size-full wp-image-13885187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-768x541.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karissa Hahn’s ‘Apertures (a brighter darkness),’ 2019. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In every case you have a before and after [each film], and everybody’s going through these things together and coming out the other side,” Polta says. “I love watching the shows in that space with people. To me, it’s the big payoff for the year. And it’s not really going to be happening online.”\u003c/p>\n\u003cp>If the pandemic has encouraged us to develop one skill, it is the ability to focus our home-viewing attention when the film demands it. In my experience, there are several things about the nature of Crossroads programs—the brevity and intensity of the films, the power of poetry, the galvanizing effect of innovative techniques—that combine to grab, hold and stimulate me, wherever I’m watching.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Crossroads 2020 is livestreaming through Aug. 29 and will be available online through Sept. 30. \u003ca href=\"http://www.sfcinematheque.org/festival/crossroads-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Details\u003cbr>\nhere\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleven years after Steve Polta launched Crossroads, San Francisco Cinematheque’s annual festival of experimental film and video has established itself as one of the top stops on the avant-garde calendar. Filmgoers who crowd the Victoria Theatre and SFMOMA’s Phyllis Wattis Theater every June (in a typical year, that is) know they’re seeing the global cream of the avant-garde crop. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmakers around the world, as well as around the country, have heard the Cinematheque’s call. That might account for Polta’s unsettling realization as he sifted through the stack of Crossroads submissions back in February. Even though they were conceived and completed before anyone had ever heard of shelter in place or social distancing, many of the films had a dystopian vibe.\u003c/p>\n\u003cp>“I was kind of panicked about it,” Polta recalls. “I said to someone, ‘These movies are so dark and dismal.’ They replied, ‘Well, you know, look around. What do you expect?’” The good news, six months into the pandemic? “The films don’t feel as bad now, compared to what’s actually happening in the world,” Polta says with a wry chuckle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crossroads’ appeal to filmmakers from abroad suggests that Trumpism isn’t the only source of discontent, and that a more generalized pessimism is infecting many artists in their 20s. As an antidote of sorts, Polta has bookended the festival with programs that hearken to better times. \u003c/p>\n\u003cp>The opener, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-1/\" rel=\"noopener noreferrer\" target=\"_blank\">Ever Westward: Remembering Bruce Baillie\u003c/a>,” pays tribute to the filmmaker who birthed Cinematheque some 60 years ago on a bedsheet in a Northern California backyard. (Baillie, who died in April, was also one of the founders of the distribution cooperative Canyon Cinema.) The tribute includes his quintessential single-shot slice of summer, \u003cem>All My Life\u003c/em>, from 1966, which languidly pans across a roadside fence overgrown with flowers in front of a blue sky while Ella Fitzgerald sings with the Teddy Wilson Orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13885186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13885186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Baillie, Still from ‘All My Life,’ 1966. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bruce was a major filmmaker affiliated with the ’60s trend of lyrical filmmaking,” Polta says. “His films are visually beautiful, they veer away from language and narrative and are about sensual encounters with life. He was alive with this ’60s counterculture thing: living in communes, living in his vehicle, traveling all through the West, and living this beatnik poet life. I think there’s something utopian in that lifestyle. You can critique it in the same way you can critique Kerouac—white male doing what he wants in the world—but there’s also something free and utopian about it, in contrast with online culture.”\u003c/p>\n\u003cp>The final program, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-9/\" rel=\"noopener noreferrer\" target=\"_blank\">as long as there is breath\u003c/a>,” takes its title from local filmmaker Emily Chao’s redolent meditation on isolation, memory, the natural world and, as its title suggests, an open-ended future. A short, late addition to the Crossroads lineup that Chao finished while she was stuck inside like the rest of us, it is as addictive as a pop song or an Emily Dickinson poem.\u003c/p>\n\u003cp>Polta included \u003cem>All My Life\u003c/em> in “as long as there is breath” as well, surrounded by new work. “There’s a certain bittersweet celebration of freedom in the last program that echoes the freedom in the Bruce Baillie program,” Polta says. An ease and abandon that is not much present while sheltering in place, nor for that matter in pre-COVID internet culture.\u003c/p>\n\u003cp>Our experience of the virus and the last several months informs how audiences will view both individual works and entire programs, of course. Another factor is the dynamic of online viewing. Polta imagines intriguing contexts for presenting experimental and avant-garde film in the virtual space, and has some online programs in the pipeline for later this year, but the 2020 Crossroads that he envisioned and assembled was an in-person event.\u003c/p>\n\u003cfigure id=\"attachment_13885188\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Luther-Price_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13885188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Luther Price’s ‘A Patch of Green,’ 2004–05. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My curatorial interest is work that is sensorially immersive, and how it functions in the darkened space,” Polta explains. “Viewers agree to put themselves in a kind of submissive or receptive state to whatever’s going to happen. You’re looking at something that has a bigger-than-life scale that could be working on you in registers that are doing things to the physical mechanisms of your eyes and ears.”\u003c/p>\n\u003cp>This is especially true of experimental film, with its purposeful attention to editing rhythm, light and darkness, asynchronous sound, manipulated archival footage and onscreen text. But the phenomenon that Polta is describing applies to other big-screen motion pictures, as well.\u003c/p>\n\u003cp>“There’s something about the experience that’s unstoppable,” Polta notes. “This is not something we get when we’re viewing at home. Looking at something on a computer screen, or even a TV screen, is different. It’s not monolithic. The potential for something being overwhelming is really diminished.”\u003c/p>\n\u003cp>Yet another key element of theatrical screenings is what filmmaker Mike Hoolboom calls “a choir of attention.” There are a lot of social aspects to seeing films with lots of strangers, notably the shared experience. Polta’s approach to curating is driven in large part by how films collide with each other when screened back to back, and the cumulative effect of the individual program. \u003c/p>\n\u003cfigure id=\"attachment_13885187\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Apertures_1200.jpg\" alt=\"\" width=\"1200\" height=\"846\" class=\"size-full wp-image-13885187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-768x541.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karissa Hahn’s ‘Apertures (a brighter darkness),’ 2019. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In every case you have a before and after [each film], and everybody’s going through these things together and coming out the other side,” Polta says. “I love watching the shows in that space with people. To me, it’s the big payoff for the year. And it’s not really going to be happening online.”\u003c/p>\n\u003cp>If the pandemic has encouraged us to develop one skill, it is the ability to focus our home-viewing attention when the film demands it. In my experience, there are several things about the nature of Crossroads programs—the brevity and intensity of the films, the power of poetry, the galvanizing effect of innovative techniques—that combine to grab, hold and stimulate me, wherever I’m watching.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Crossroads 2020 is livestreaming through Aug. 29 and will be available online through Sept. 30. \u003ca href=\"http://www.sfcinematheque.org/festival/crossroads-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Details\u003cbr>\nhere\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The writer and director Michael Almereyda is making some of the most thoughtful and inventive biographical dramas of any filmmaker working today.\u003c/p>\n\u003cp>He’s fascinated by the lives of scientists and intellectuals, but rather than merely rattling off their accomplishments, he uses the medium of cinema itself to explore how their minds actually worked. A few years ago he directed \u003ca href=\"https://www.npr.org/2015/10/23/451111456/experimenter-revisits-a-decades-old-trial-of-free-will-and-compassion\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Experimenter\u003c/em>\u003c/a>, a portrait of the controversial researcher \u003ca href=\"https://www.npr.org/2013/08/28/209559002/taking-a-closer-look-at-milgrams-shocking-obedience-study\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Milgram\u003c/a> that played its own sly psychological games with the audience.\u003c/p>\n\u003cp>Almereyda’s new film, \u003cem>Tesla\u003c/em>, is a quieter, moodier affair than \u003cem>Experimenter\u003c/em>, but it has the same invigorating playfulness. It unfolds as a series of funny-sad vignettes from the life of Nikola Tesla, the Serbian-American inventor who has often been relegated to a historical footnote—as the younger, hipper rival to Thomas Edison. But Tesla, played here by a superb \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Ethan Hawke\u003c/a>, looms ever larger these days in the public imagination. He’s been a character in novels, video games and quite a few movies, like \u003ca href=\"https://www.npr.org/2019/10/24/771307612/the-current-war-director-s-cut-shines-at-low-but-steady-wattage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Current War\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6359512\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>The Prestige\u003c/em>\u003c/a>\u003cem>,\u003c/em> in which he was played by none other than David Bowie.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>doesn’t follow the usual cradle-to-the-grave biopic trajectory. There are oddball comic asides, like the scene where Tesla and Edison attack each other with ice-cream cones; needless-to-say, the movie tells us, that didn’t really happen. Sometimes a narrator interrupts the action to run Google searches on the characters, a nifty little fact-checking device that also underscores the story’s relevance. It connects Tesla, a pioneer in the field of wireless communications, directly to the internet technology we use today.\u003c/p>\n\u003cp>Aside from the occasional leaps forward and backward, the movie is told in mostly chronological order. It begins in the 1880s, not long after Tesla, who was born in what is now Croatia, has emigrated to New York City. There, he gets a job working for Edison, played with snappish wit and a rich vein of melancholy by Kyle MacLachlan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tesla is developing a new project, a motor that uses alternating current—a more efficient system of harnessing electrical power than Edison’s direct-current method. Edison feels threatened and refuses to support Tesla’s work, as the younger man bitterly notes in a letter to a friend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e4U-23TOKms\u003c/p>\n\u003cp>Edison is just one of many powerful older men with whom Tesla will cross paths over the course of his tumultuous career. \u003ca href=\"https://www.npr.org/2015/09/24/443070367/comic-jim-gaffigan-on-stand-up-faith-and-opening-for-the-pope\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Gaffigan\u003c/a> gives an enjoyably big-hearted performance as the engineer and entrepreneur George Westinghouse, who funds the Tesla motor and makes it a force to be reckoned with.\u003c/p>\n\u003cp>Later, Tesla finds a chillier patron in the banker J.P. Morgan, who gives him the modern-day equivalent of $4 million to build a wireless communications system, only to balk when the project leads Tesla into ever more bizarre realms of study. At one point, Tesla comes to believe he might be receiving secret transmissions from Mars.\u003c/p>\n\u003cp>Hawke, who starred in Almereyda’s offbeat Shakespeare adaptations \u003cem>Hamlet \u003c/em>and \u003cem>Cymbeline\u003c/em>, gives a beautifully internalized performance as Tesla. He nails the essence of a deep thinker who likes his solitude and who’s more comfortable at home with his notebooks than he is out and about in society.\u003c/p>\n\u003cp>The movie does hand a prominent role to Anne Morgan, J.P. Morgan’s daughter, memorably played by Eve Hewson. She becomes a close friend of Tesla’s as well as a kind of stand-in for the audience. Through her tender yet sharply perceptive gaze, we come to appreciate this man’s genius, but we also register the pride and short-sightedness that will again and again prove to be his undoing.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>has been a long time in the making. Almereyda wrote the script decades earlier, but it languished for years until the financing at last came together. Watching the finished movie, I couldn’t help but feel that Almereyda empathizes instinctively with Tesla. Not because the director sees himself as some sort of fellow visionary, but because he knows that in science as well as in filmmaking, bold thinkers often run afoul of naysaying benefactors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>is a deeply unconventional movie, but never in a self-congratulatory way. The gifted cinematographer Sean Price Williams gives the interiors a rich amber glow, cast initially by candles and later by electric bulbs: A world that might have seemed stiff and static is instead wildly in flux. The movie is a hypnotic experience. You might be thrown by some of the weirder touches, like the wildly anachronistic scene in which Tesla stands in front of a microphone and sings a 1985 British pop hit, but I loved its crazy daring. It reminds us what a modern creature Tesla was, a figure from the past who never stopped pointing the way to the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Wild+And+Daring%2C+%27Tesla%27+Captures+The+Spirit+Of+An+Unorthodox+Inventor+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The writer and director Michael Almereyda is making some of the most thoughtful and inventive biographical dramas of any filmmaker working today.\u003c/p>\n\u003cp>He’s fascinated by the lives of scientists and intellectuals, but rather than merely rattling off their accomplishments, he uses the medium of cinema itself to explore how their minds actually worked. A few years ago he directed \u003ca href=\"https://www.npr.org/2015/10/23/451111456/experimenter-revisits-a-decades-old-trial-of-free-will-and-compassion\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Experimenter\u003c/em>\u003c/a>, a portrait of the controversial researcher \u003ca href=\"https://www.npr.org/2013/08/28/209559002/taking-a-closer-look-at-milgrams-shocking-obedience-study\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Milgram\u003c/a> that played its own sly psychological games with the audience.\u003c/p>\n\u003cp>Almereyda’s new film, \u003cem>Tesla\u003c/em>, is a quieter, moodier affair than \u003cem>Experimenter\u003c/em>, but it has the same invigorating playfulness. It unfolds as a series of funny-sad vignettes from the life of Nikola Tesla, the Serbian-American inventor who has often been relegated to a historical footnote—as the younger, hipper rival to Thomas Edison. But Tesla, played here by a superb \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Ethan Hawke\u003c/a>, looms ever larger these days in the public imagination. He’s been a character in novels, video games and quite a few movies, like \u003ca href=\"https://www.npr.org/2019/10/24/771307612/the-current-war-director-s-cut-shines-at-low-but-steady-wattage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Current War\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6359512\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>The Prestige\u003c/em>\u003c/a>\u003cem>,\u003c/em> in which he was played by none other than David Bowie.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>doesn’t follow the usual cradle-to-the-grave biopic trajectory. There are oddball comic asides, like the scene where Tesla and Edison attack each other with ice-cream cones; needless-to-say, the movie tells us, that didn’t really happen. Sometimes a narrator interrupts the action to run Google searches on the characters, a nifty little fact-checking device that also underscores the story’s relevance. It connects Tesla, a pioneer in the field of wireless communications, directly to the internet technology we use today.\u003c/p>\n\u003cp>Aside from the occasional leaps forward and backward, the movie is told in mostly chronological order. It begins in the 1880s, not long after Tesla, who was born in what is now Croatia, has emigrated to New York City. There, he gets a job working for Edison, played with snappish wit and a rich vein of melancholy by Kyle MacLachlan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tesla is developing a new project, a motor that uses alternating current—a more efficient system of harnessing electrical power than Edison’s direct-current method. Edison feels threatened and refuses to support Tesla’s work, as the younger man bitterly notes in a letter to a friend.\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/e4U-23TOKms'\n title='//www.youtube.com/embed/e4U-23TOKms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Edison is just one of many powerful older men with whom Tesla will cross paths over the course of his tumultuous career. \u003ca href=\"https://www.npr.org/2015/09/24/443070367/comic-jim-gaffigan-on-stand-up-faith-and-opening-for-the-pope\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Gaffigan\u003c/a> gives an enjoyably big-hearted performance as the engineer and entrepreneur George Westinghouse, who funds the Tesla motor and makes it a force to be reckoned with.\u003c/p>\n\u003cp>Later, Tesla finds a chillier patron in the banker J.P. Morgan, who gives him the modern-day equivalent of $4 million to build a wireless communications system, only to balk when the project leads Tesla into ever more bizarre realms of study. At one point, Tesla comes to believe he might be receiving secret transmissions from Mars.\u003c/p>\n\u003cp>Hawke, who starred in Almereyda’s offbeat Shakespeare adaptations \u003cem>Hamlet \u003c/em>and \u003cem>Cymbeline\u003c/em>, gives a beautifully internalized performance as Tesla. He nails the essence of a deep thinker who likes his solitude and who’s more comfortable at home with his notebooks than he is out and about in society.\u003c/p>\n\u003cp>The movie does hand a prominent role to Anne Morgan, J.P. Morgan’s daughter, memorably played by Eve Hewson. She becomes a close friend of Tesla’s as well as a kind of stand-in for the audience. Through her tender yet sharply perceptive gaze, we come to appreciate this man’s genius, but we also register the pride and short-sightedness that will again and again prove to be his undoing.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>has been a long time in the making. Almereyda wrote the script decades earlier, but it languished for years until the financing at last came together. Watching the finished movie, I couldn’t help but feel that Almereyda empathizes instinctively with Tesla. Not because the director sees himself as some sort of fellow visionary, but because he knows that in science as well as in filmmaking, bold thinkers often run afoul of naysaying benefactors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>is a deeply unconventional movie, but never in a self-congratulatory way. The gifted cinematographer Sean Price Williams gives the interiors a rich amber glow, cast initially by candles and later by electric bulbs: A world that might have seemed stiff and static is instead wildly in flux. The movie is a hypnotic experience. You might be thrown by some of the weirder touches, like the wildly anachronistic scene in which Tesla stands in front of a microphone and sings a 1985 British pop hit, but I loved its crazy daring. It reminds us what a modern creature Tesla was, a figure from the past who never stopped pointing the way to the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Wild+And+Daring%2C+%27Tesla%27+Captures+The+Spirit+Of+An+Unorthodox+Inventor+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "There's a Better Way to 'Dub' Movie Audio For Visually Impaired Fans",
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"content": "\u003cp>Most people never have to explain why they enjoy going to the movies. But, Denise Decker sometimes needs to do that.\u003c/p>\n\u003cp>The retired federal worker, who lives in Washington, D.C., says some sighted people don’t understand how someone who is blind can appreciate watching film.\u003c/p>\n\u003cp>“Those of us who are vision impaired enjoy going to the movies probably as much as anyone else does and we probably go as much as some sighted people do,” she says.\u003c/p>\n\u003cp>Decker says she enjoys all types of movies, as long as it’s a “good story.” But, foreign language films that are only subtitled are not an option.\u003c/p>\n\u003cp>And dubbing wouldn’t solve the problem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dubbing just tells us the dialogue,” she explains. “It doesn’t tell us the surrounding actions and the other things that are taking place, maybe what the individuals are wearing, the expressions on their face, are they moving, what else is happening.”\u003c/p>\n\u003cp>The solution, Decker says, is \u003ca href=\"https://www.youtube.com/watch?v=rgRv4bSdLdU&feature=emb_rel_end\" target=\"_blank\" rel=\"noopener noreferrer\">audio description\u003c/a>: an embedded voice that translates visual imagery and action on the screen into spoken word.\u003c/p>\n\u003cp>These bits of narration play during pauses in a movie’s dialogue. Typically, one voice actor performs the description.\u003c/p>\n\u003cp>But, while almost all Hollywood films provide this inclusive feature, most non-English language movies produced overseas and distributed in the United States do not. And that prevents millions of blind and visually impaired Americans from fully appreciating many foreign pictures.\u003c/p>\n\u003cp>Around 3.4-million Americans over the age of 40 are blind or have low vision, according to the Centers for Disease Control and Prevention. The American Foundation for the Blind says 26.9-million people have experience difficulty seeing even with correction or are blind and legally blind.\u003c/p>\n\u003cp>Joel Snyder, who directs the American Council of the Blind’s audio description project suspects that this accessibility service is not included in many American releases because local distributors don’t think subtitled films are big draws at the box office.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7-XOHN2BWG4\u003c/p>\n\u003cp>He says adding audio description to a film that is not originally in English is “somewhat more complicated, but not prohibitive” to produce. It would require at least two narrators; one providing the visual explanation and another that speaks the subtitles, he explains.\u003c/p>\n\u003cp>Snyder says compared to closed-captioning, audio description is still not as well known by the general public, even though its been available in live theater and on some American movies’ VHS or DVD releases for decades.\u003c/p>\n\u003cp>And since 2017, the Americans With Disabilities Act has required movie theaters to provide audio description services when available. So, now in many cinemas, a visually impaired customer can request a headset and transmitter box that plays the descriptive track in sync with the film.\u003c/p>\n\u003cp>Streaming services also provide audio description for many of the titles on their platforms.\u003c/p>\n\u003cp>But, \u003ca href=\"https://dralegal.org/staff-members/rebecca-williford/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Williford\u003c/a>, managing attorney at Disability Rights Advocates in Berkeley, Calif., says it took lawsuits to make these companies offer this feature.\u003c/p>\n\u003cp>“One with Netflix and one with Hulu, where we were able to get increased audio description content on those streaming services,” Williford says. “And we were able to work out a settlement with AMC to make sure they would do things like do more frequent checks of their equipment so things like that wouldn’t ruin people’s evening at the movies.”\u003c/p>\n\u003cp>Williford did not want to weigh in on whether the ADA, which was signed into law 30-years ago, requires the American distributors of foreign films to include audio description for their US releases.\u003c/p>\n\u003cp>The unavailability of this feature for non-English language films gained some attention during this year’s Oscars, when the South Korean dark comedy \u003cem>Parasite\u003c/em> became the first subtitled movie to win Best Picture. It was this category’s only nominee that didn’t include audio description.\u003c/p>\n\u003cp>Bong Joon-ho, \u003cem>Parasite\u003c/em>‘s director, has remarked that Americans must “overcome the 1-inch-tall barrier of subtitles” so they can “be introduced to so many more amazing films.” He was perhaps unaware that his U.S. distributor, Neon, did not include audio description for the movie’s theatrical or home release.\u003c/p>\n\u003cp>Tom Quinn, Neon’s co-founder, declined NPR’s request for comment.\u003c/p>\n\u003cp>For now, the only way for America’s blind and visually impaired to overcome this film’s accessibility barrier, is to get hold of \u003cem>Parasite\u003c/em>‘s U.K. DVD release.\u003c/p>\n\u003cp>The world’s only English language descriptive track for \u003cem>Parasite\u003c/em> was written and performed by Matthew Jarman of Bad Princess Productions.\u003c/p>\n\u003cp>“English language is no indication of quality in film and if it’s about accessibility, why should you be only able to access films from one culture,” says Jarman who, with a colleague, recorded the audio description at his home studio in London.\u003c/p>\n\u003cp>“America do make a lot of films, the U.K, as well, but everybody is making films so we should be able to enjoy them all,” he adds.\u003c/p>\n\u003cp>Denise Decker hopes that \u003cem>Parasite\u003c/em>‘s success and popularity will raise awareness about the inaccessibility of foreign language films in the US.\u003c/p>\n\u003cp>And she says she does what she can to inform sighted people about the importance of audio description.\u003c/p>\n\u003cp>“Sometimes when I’m at a movie with a friend who are sighted, I’ve just taken one side of the headset and let them listen to a little of the audio description so they understand what I’m hearing while they’re watching the movie. Immediately, people say, ‘Oh yeah, I get it. I understand why it’s important to you.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Strother is a freelance multimedia journalist based in Seoul.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=There%27s+A+Better+Way+To+%27Dub%27+Movie+Audio+For+Visually+Impaired+Fans&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>“Dubbing just tells us the dialogue,” she explains. “It doesn’t tell us the surrounding actions and the other things that are taking place, maybe what the individuals are wearing, the expressions on their face, are they moving, what else is happening.”\u003c/p>\n\u003cp>The solution, Decker says, is \u003ca href=\"https://www.youtube.com/watch?v=rgRv4bSdLdU&feature=emb_rel_end\" target=\"_blank\" rel=\"noopener noreferrer\">audio description\u003c/a>: an embedded voice that translates visual imagery and action on the screen into spoken word.\u003c/p>\n\u003cp>These bits of narration play during pauses in a movie’s dialogue. Typically, one voice actor performs the description.\u003c/p>\n\u003cp>But, while almost all Hollywood films provide this inclusive feature, most non-English language movies produced overseas and distributed in the United States do not. And that prevents millions of blind and visually impaired Americans from fully appreciating many foreign pictures.\u003c/p>\n\u003cp>Around 3.4-million Americans over the age of 40 are blind or have low vision, according to the Centers for Disease Control and Prevention. The American Foundation for the Blind says 26.9-million people have experience difficulty seeing even with correction or are blind and legally blind.\u003c/p>\n\u003cp>Joel Snyder, who directs the American Council of the Blind’s audio description project suspects that this accessibility service is not included in many American releases because local distributors don’t think subtitled films are big draws at the box office.\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/7-XOHN2BWG4'\n title='//www.youtube.com/embed/7-XOHN2BWG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He says adding audio description to a film that is not originally in English is “somewhat more complicated, but not prohibitive” to produce. It would require at least two narrators; one providing the visual explanation and another that speaks the subtitles, he explains.\u003c/p>\n\u003cp>Snyder says compared to closed-captioning, audio description is still not as well known by the general public, even though its been available in live theater and on some American movies’ VHS or DVD releases for decades.\u003c/p>\n\u003cp>And since 2017, the Americans With Disabilities Act has required movie theaters to provide audio description services when available. So, now in many cinemas, a visually impaired customer can request a headset and transmitter box that plays the descriptive track in sync with the film.\u003c/p>\n\u003cp>Streaming services also provide audio description for many of the titles on their platforms.\u003c/p>\n\u003cp>But, \u003ca href=\"https://dralegal.org/staff-members/rebecca-williford/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Williford\u003c/a>, managing attorney at Disability Rights Advocates in Berkeley, Calif., says it took lawsuits to make these companies offer this feature.\u003c/p>\n\u003cp>“One with Netflix and one with Hulu, where we were able to get increased audio description content on those streaming services,” Williford says. “And we were able to work out a settlement with AMC to make sure they would do things like do more frequent checks of their equipment so things like that wouldn’t ruin people’s evening at the movies.”\u003c/p>\n\u003cp>Williford did not want to weigh in on whether the ADA, which was signed into law 30-years ago, requires the American distributors of foreign films to include audio description for their US releases.\u003c/p>\n\u003cp>The unavailability of this feature for non-English language films gained some attention during this year’s Oscars, when the South Korean dark comedy \u003cem>Parasite\u003c/em> became the first subtitled movie to win Best Picture. It was this category’s only nominee that didn’t include audio description.\u003c/p>\n\u003cp>Bong Joon-ho, \u003cem>Parasite\u003c/em>‘s director, has remarked that Americans must “overcome the 1-inch-tall barrier of subtitles” so they can “be introduced to so many more amazing films.” He was perhaps unaware that his U.S. distributor, Neon, did not include audio description for the movie’s theatrical or home release.\u003c/p>\n\u003cp>Tom Quinn, Neon’s co-founder, declined NPR’s request for comment.\u003c/p>\n\u003cp>For now, the only way for America’s blind and visually impaired to overcome this film’s accessibility barrier, is to get hold of \u003cem>Parasite\u003c/em>‘s U.K. DVD release.\u003c/p>\n\u003cp>The world’s only English language descriptive track for \u003cem>Parasite\u003c/em> was written and performed by Matthew Jarman of Bad Princess Productions.\u003c/p>\n\u003cp>“English language is no indication of quality in film and if it’s about accessibility, why should you be only able to access films from one culture,” says Jarman who, with a colleague, recorded the audio description at his home studio in London.\u003c/p>\n\u003cp>“America do make a lot of films, the U.K, as well, but everybody is making films so we should be able to enjoy them all,” he adds.\u003c/p>\n\u003cp>Denise Decker hopes that \u003cem>Parasite\u003c/em>‘s success and popularity will raise awareness about the inaccessibility of foreign language films in the US.\u003c/p>\n\u003cp>And she says she does what she can to inform sighted people about the importance of audio description.\u003c/p>\n\u003cp>“Sometimes when I’m at a movie with a friend who are sighted, I’ve just taken one side of the headset and let them listen to a little of the audio description so they understand what I’m hearing while they’re watching the movie. Immediately, people say, ‘Oh yeah, I get it. I understand why it’s important to you.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Strother is a freelance multimedia journalist based in Seoul.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=There%27s+A+Better+Way+To+%27Dub%27+Movie+Audio+For+Visually+Impaired+Fans&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How SF ‘Video Freaks’ Infiltrated the 1972 Democratic National Convention",
"headTitle": "How SF ‘Video Freaks’ Infiltrated the 1972 Democratic National Convention | KQED",
"content": "\u003cp>On the floor of a very different Democratic National Convention—this one in the Miami Convention Center, packed with maskless people, glad-handing everywhere—Top Value Television (TVTV) trained its video cameras on the in-between moments of a political spectacle. It was 1972, and a scrappy group of “video freaks” from San Francisco wanted to change the way television was made.\u003c/p>\n\u003cp>With 28 press passes in hand, the fledgling group shot hundreds of hours of footage at the DNC and RNC, which took place at the same venue just a month later. TVTV captured official votes and speeches, but also backroom discussions, Miami sightseeing, \u003ci>Newsweek\u003c/i> interviewing \u003ci>them\u003c/i> poolside, and, most notably, interactions with network television crews.\u003c/p>\n\u003cp>The official results of this new journalism endeavor were two hour-long, scrapbook-like documentaries, \u003cem>The World’s Largest TV Studio\u003c/em> (about the DNC) and \u003cem>Four More Years\u003c/em> (its RNC companion), initially screened on select cable channels and later available via video distribution services, or more recently, \u003ca href=\"http://www.tvtvnow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885016\" class=\"wp-caption aligncenter\" style=\"max-width: 967px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtv-crew.jpg\" alt=\"\" width=\"967\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew.jpg 967w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-768x612.jpg 768w\" sizes=\"(max-width: 967px) 100vw, 967px\">\u003cfigcaption class=\"wp-caption-text\">Approximately half the TVTV crew from the 1972 Convention tapes with the TVTV media van in Miami. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, for the first time, the whole of that raw footage—in-between the in-between moments—will be available to the public at “\u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Preserving Guerrilla Television\u003c/a>” and soon, the \u003ca href=\"https://archive.org/search.php?query=creator%3A%22TVTV+%28Top+Value+Television%29%22\" rel=\"noopener noreferrer\" target=\"_blank\">Internet Archive\u003c/a>, the result of a National Endowment for Humanities grant to the Berkeley Art Museum and Pacific Film Archive. The newly digitized video captures what local archivist, filmmaker and educator \u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/essays/2020-08-10_rick-prelinger-revolutionary-rectangle.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Prelinger calls\u003c/a> “the flavor of TVTV’s work.” The raw footage contains extended “raps” by protesters and delegates, casual interviews with people who would become political heavyweights (a young John Lewis!), and a very real sense of Americans’ thoughts and concerns during a pivotal year.\u003c/p>\n\u003cp>A grant of $220,537 allowed BAMPFA to digitize 437 analog videos related to three TVTV projects: the two convention docs and \u003cem>Gerald Ford’s America\u003c/em>, which shows the videomakers embedded in another spectacle, the first hundred days of Ford’s presidency after Nixon’s 1974 resignation. The grant also paid for scanning and photographing \u003ca href=\"https://digicoll.lib.berkeley.edu/search?ln=en&p=collection%3A%27Top+Value+Television+papers%27&f=&rm=&ln=en&sf=title&so=a&rg=100&c=Digital+Collections&of=hb&fti=0&fti=0\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of pages\u003c/a> of paperwork, press clippings, scrapbooks and other TVTV ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13885017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg\" alt=\"\" width=\"1200\" height=\"826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A TVTV poster promoting their 1972 convention documentaries. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the culmination (in part) of a project that traces its roots back to a 2004 Ant Farm retrospective at BAMPFA, co-organized by then-video curator Steve Seid. (The Ant Farm and TVTV collectives shared members.) I specify “in part” because according to Michael Campos-Quinn, director of library special projects at BAMPFA’s Film Library and Study Center, this digitization project is “just the tip of the iceberg.” They actually have thousands of TVTV tapes, not to mention the work of other Bay Area video collectives.\u003c/p>\n\u003cp>“It’s so incredibly expensive to digitize the kind of tape that these are on,” Campos-Quinn explains. The videos are on half-inch open-reel tapes, one of the first portable videotape formats available to consumers in the late ’60s. With (relatively light) equipment like the Sony Portapak, guerrilla video groups could move nimbly through crowds, and produce media for a fraction of what the major networks spent covering the same event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was basically a game changer in terms of how people were able to document themselves and document their own reality,” Campos-Quinn says. “But the tape itself is a consumer product and it’s just fundamentally unstable. We’re at the point now where the tapes are starting to degrade past the point of being able to play them.”\u003c/p>\n\u003cp>“Long story short, we have thousands of tapes that are in dire need of transfer,” he says. Even the equipment needed to play TVTV’s tapes is super rare; BAMPFA worked with a Pennsylvania company called The MediaPreserve to digitize this collection.\u003c/p>\n\u003cfigure id=\"attachment_13885018\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg\" alt=\"\" width=\"970\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-768x594.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">TVTV interviews a tired Walter Cronkite in the aftermath of the 1972 Democratic National Convention. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowledge of this scarcity—and this precarity—makes what is now digitized all the more engaging. When the collective disbanded in 1977, many of TVTV’s members went on to impressive careers in Hollywood, documentary filmmaking and the art world. But in the early 1970s, Michael Shamberg, Allen Rucker, Megan Williams, Chip Lord, Hudson Marquez and Doug Michels (among others) were eager 20-somethings, full of ideas about the potential of television and eager to put them to the test.\u003c/p>\n\u003cp>They believed the type of equipment they used determined, in part, the type of information they’d be able to gather. They wanted to create “special purpose media,” not mass media, and provide a space for people express their own views. And they went about their project methodically, designing \u003ca href=\"https://digicoll.lib.berkeley.edu/record/91916?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-506%2C-224%2C5938%2C4479\" rel=\"noopener noreferrer\" target=\"_blank\">letterhead\u003c/a>, raising funds from various foundations and commercial enterprises, and selling shares when that failed. In the 1974 report \u003ci>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91927?ln=en\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Time Survey\u003c/a>\u003c/i>, TVTV laid out their philosophy about opening up television, emphasizing their desire to figure things out through making, not just theorizing. “Projects are the best prophecies,” they wrote.\u003c/p>\n\u003cp>Their countercultural approach becomes most visible in the scrapbooks compiled while making \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91910?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=313%2C677%2C6044%2C4559\" target=\"_blank\" rel=\"noopener noreferrer\">The World’s Largest TV Studio\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91911?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-1%2C1351%2C6995%2C5277\" target=\"_blank\" rel=\"noopener noreferrer\">Four More Years\u003c/a>\u003c/em>: the group parties in their Miami rental with nitrous oxide; the male members of TVTV are often shirtless; collages lampoon Nixon and then-California governor Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13885019\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ice-cream.jpg\" alt=\"\" width=\"1447\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-768x607.jpg 768w\" sizes=\"(max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">TVTV videomakers enjoy an ice cream. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Breaking what were then the rules of nonfiction television, the artists of TVTV became characters in their own documentary, annotating scenes with both hand-written notes and staged commentary. After one particularly confusing speech at the DNC by delegate Willie Brown, a TVTV member leans into the frame to ask, “Did you understand that?”\u003c/p>\n\u003cp>The fact that they weren’t part of the “straight” media certainly facilitated some interactions, even if it hindered them in others (in \u003cem>The World’s Largest TV Studio\u003c/em>, the Secret Service is deeply skeptical of their press credentials). In raw footage from the RNC, a group of Vietnam Veterans Against the War joke they won’t let a TV crew through unless their cameraman has long hair. TVTV’s very unobtrusiveness means people just keep talking—about the Women’s Movement, the Vietnam War, or the eeriness of organized groups of Young Republicans.\u003c/p>\n\u003cp>One of those candid conversations captures John Lewis (then executive director of the Voter Education Project) and civil rights activist Tom Houck (then associate director of the Youth Citizenship Fund) at the RNC. Lewis expresses sadness at the sight of young people with “no sense of independence or spontaneity” supporting “something so out of date and obsolete” as the Republican platform.\u003c/p>\n\u003cp>https://vimeo.com/445270394\u003c/p>\n\u003cp>In another clip, following a gathering of the National Women’s Political Caucus (featuring Gloria Steinem, Betty Friedan and Bella Abzug), Florynce Kennedy and Margaret Sloan-Hunter discuss the challenges facing Black feminists within the feminist movement and wider society. It sounds, unfortunately, very reminiscent of the conversations we’re still having in 2020.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/worlds-largest-studio-025_16235_PM0040800_r01of01\" width=\"800\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Campos-Quinn says he experienced the same feeling. “It’s a really wild thing to look at the footage and see how completely relevant what happened then is to today,” he says.\u003c/p>\n\u003cp>Halfway through the 2020 DNC, looking ahead to the RNC, there’s \u003ca href=\"https://www.nytimes.com/2020/06/13/us/politics/trump-lessons-nixon.html\" target=\"_blank\" rel=\"noopener noreferrer\">plenty to compare\u003c/a> between our current political circumstances and those of 1972. The media landscape has changed greatly, and yet we’re still searching for approaches to mediamaking that might achieve TVTV’s ultimate goal: entertainment that enhances awareness instead of numbing it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the floor of a very different Democratic National Convention—this one in the Miami Convention Center, packed with maskless people, glad-handing everywhere—Top Value Television (TVTV) trained its video cameras on the in-between moments of a political spectacle. It was 1972, and a scrappy group of “video freaks” from San Francisco wanted to change the way television was made.\u003c/p>\n\u003cp>With 28 press passes in hand, the fledgling group shot hundreds of hours of footage at the DNC and RNC, which took place at the same venue just a month later. TVTV captured official votes and speeches, but also backroom discussions, Miami sightseeing, \u003ci>Newsweek\u003c/i> interviewing \u003ci>them\u003c/i> poolside, and, most notably, interactions with network television crews.\u003c/p>\n\u003cp>The official results of this new journalism endeavor were two hour-long, scrapbook-like documentaries, \u003cem>The World’s Largest TV Studio\u003c/em> (about the DNC) and \u003cem>Four More Years\u003c/em> (its RNC companion), initially screened on select cable channels and later available via video distribution services, or more recently, \u003ca href=\"http://www.tvtvnow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885016\" class=\"wp-caption aligncenter\" style=\"max-width: 967px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtv-crew.jpg\" alt=\"\" width=\"967\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew.jpg 967w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-768x612.jpg 768w\" sizes=\"(max-width: 967px) 100vw, 967px\">\u003cfigcaption class=\"wp-caption-text\">Approximately half the TVTV crew from the 1972 Convention tapes with the TVTV media van in Miami. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, for the first time, the whole of that raw footage—in-between the in-between moments—will be available to the public at “\u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Preserving Guerrilla Television\u003c/a>” and soon, the \u003ca href=\"https://archive.org/search.php?query=creator%3A%22TVTV+%28Top+Value+Television%29%22\" rel=\"noopener noreferrer\" target=\"_blank\">Internet Archive\u003c/a>, the result of a National Endowment for Humanities grant to the Berkeley Art Museum and Pacific Film Archive. The newly digitized video captures what local archivist, filmmaker and educator \u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/essays/2020-08-10_rick-prelinger-revolutionary-rectangle.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Prelinger calls\u003c/a> “the flavor of TVTV’s work.” The raw footage contains extended “raps” by protesters and delegates, casual interviews with people who would become political heavyweights (a young John Lewis!), and a very real sense of Americans’ thoughts and concerns during a pivotal year.\u003c/p>\n\u003cp>A grant of $220,537 allowed BAMPFA to digitize 437 analog videos related to three TVTV projects: the two convention docs and \u003cem>Gerald Ford’s America\u003c/em>, which shows the videomakers embedded in another spectacle, the first hundred days of Ford’s presidency after Nixon’s 1974 resignation. The grant also paid for scanning and photographing \u003ca href=\"https://digicoll.lib.berkeley.edu/search?ln=en&p=collection%3A%27Top+Value+Television+papers%27&f=&rm=&ln=en&sf=title&so=a&rg=100&c=Digital+Collections&of=hb&fti=0&fti=0\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of pages\u003c/a> of paperwork, press clippings, scrapbooks and other TVTV ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13885017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg\" alt=\"\" width=\"1200\" height=\"826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A TVTV poster promoting their 1972 convention documentaries. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the culmination (in part) of a project that traces its roots back to a 2004 Ant Farm retrospective at BAMPFA, co-organized by then-video curator Steve Seid. (The Ant Farm and TVTV collectives shared members.) I specify “in part” because according to Michael Campos-Quinn, director of library special projects at BAMPFA’s Film Library and Study Center, this digitization project is “just the tip of the iceberg.” They actually have thousands of TVTV tapes, not to mention the work of other Bay Area video collectives.\u003c/p>\n\u003cp>“It’s so incredibly expensive to digitize the kind of tape that these are on,” Campos-Quinn explains. The videos are on half-inch open-reel tapes, one of the first portable videotape formats available to consumers in the late ’60s. With (relatively light) equipment like the Sony Portapak, guerrilla video groups could move nimbly through crowds, and produce media for a fraction of what the major networks spent covering the same event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was basically a game changer in terms of how people were able to document themselves and document their own reality,” Campos-Quinn says. “But the tape itself is a consumer product and it’s just fundamentally unstable. We’re at the point now where the tapes are starting to degrade past the point of being able to play them.”\u003c/p>\n\u003cp>“Long story short, we have thousands of tapes that are in dire need of transfer,” he says. Even the equipment needed to play TVTV’s tapes is super rare; BAMPFA worked with a Pennsylvania company called The MediaPreserve to digitize this collection.\u003c/p>\n\u003cfigure id=\"attachment_13885018\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg\" alt=\"\" width=\"970\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-768x594.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">TVTV interviews a tired Walter Cronkite in the aftermath of the 1972 Democratic National Convention. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowledge of this scarcity—and this precarity—makes what is now digitized all the more engaging. When the collective disbanded in 1977, many of TVTV’s members went on to impressive careers in Hollywood, documentary filmmaking and the art world. But in the early 1970s, Michael Shamberg, Allen Rucker, Megan Williams, Chip Lord, Hudson Marquez and Doug Michels (among others) were eager 20-somethings, full of ideas about the potential of television and eager to put them to the test.\u003c/p>\n\u003cp>They believed the type of equipment they used determined, in part, the type of information they’d be able to gather. They wanted to create “special purpose media,” not mass media, and provide a space for people express their own views. And they went about their project methodically, designing \u003ca href=\"https://digicoll.lib.berkeley.edu/record/91916?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-506%2C-224%2C5938%2C4479\" rel=\"noopener noreferrer\" target=\"_blank\">letterhead\u003c/a>, raising funds from various foundations and commercial enterprises, and selling shares when that failed. In the 1974 report \u003ci>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91927?ln=en\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Time Survey\u003c/a>\u003c/i>, TVTV laid out their philosophy about opening up television, emphasizing their desire to figure things out through making, not just theorizing. “Projects are the best prophecies,” they wrote.\u003c/p>\n\u003cp>Their countercultural approach becomes most visible in the scrapbooks compiled while making \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91910?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=313%2C677%2C6044%2C4559\" target=\"_blank\" rel=\"noopener noreferrer\">The World’s Largest TV Studio\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91911?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-1%2C1351%2C6995%2C5277\" target=\"_blank\" rel=\"noopener noreferrer\">Four More Years\u003c/a>\u003c/em>: the group parties in their Miami rental with nitrous oxide; the male members of TVTV are often shirtless; collages lampoon Nixon and then-California governor Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13885019\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ice-cream.jpg\" alt=\"\" width=\"1447\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-768x607.jpg 768w\" sizes=\"(max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">TVTV videomakers enjoy an ice cream. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Breaking what were then the rules of nonfiction television, the artists of TVTV became characters in their own documentary, annotating scenes with both hand-written notes and staged commentary. After one particularly confusing speech at the DNC by delegate Willie Brown, a TVTV member leans into the frame to ask, “Did you understand that?”\u003c/p>\n\u003cp>The fact that they weren’t part of the “straight” media certainly facilitated some interactions, even if it hindered them in others (in \u003cem>The World’s Largest TV Studio\u003c/em>, the Secret Service is deeply skeptical of their press credentials). In raw footage from the RNC, a group of Vietnam Veterans Against the War joke they won’t let a TV crew through unless their cameraman has long hair. TVTV’s very unobtrusiveness means people just keep talking—about the Women’s Movement, the Vietnam War, or the eeriness of organized groups of Young Republicans.\u003c/p>\n\u003cp>One of those candid conversations captures John Lewis (then executive director of the Voter Education Project) and civil rights activist Tom Houck (then associate director of the Youth Citizenship Fund) at the RNC. Lewis expresses sadness at the sight of young people with “no sense of independence or spontaneity” supporting “something so out of date and obsolete” as the Republican platform.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In another clip, following a gathering of the National Women’s Political Caucus (featuring Gloria Steinem, Betty Friedan and Bella Abzug), Florynce Kennedy and Margaret Sloan-Hunter discuss the challenges facing Black feminists within the feminist movement and wider society. It sounds, unfortunately, very reminiscent of the conversations we’re still having in 2020.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/worlds-largest-studio-025_16235_PM0040800_r01of01\" width=\"800\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Campos-Quinn says he experienced the same feeling. “It’s a really wild thing to look at the footage and see how completely relevant what happened then is to today,” he says.\u003c/p>\n\u003cp>Halfway through the 2020 DNC, looking ahead to the RNC, there’s \u003ca href=\"https://www.nytimes.com/2020/06/13/us/politics/trump-lessons-nixon.html\" target=\"_blank\" rel=\"noopener noreferrer\">plenty to compare\u003c/a> between our current political circumstances and those of 1972. The media landscape has changed greatly, and yet we’re still searching for approaches to mediamaking that might achieve TVTV’s ultimate goal: entertainment that enhances awareness instead of numbing it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! ‘Tesla’ and Iranian History Electrify Home Screens",
"headTitle": "Now Playing! ‘Tesla’ and Iranian History Electrify Home Screens | KQED",
"content": "\u003cp>All sectors of the movie business are fixated this month on Warner Bros.’ strategy to squeeze every nickel out of its reported $205 million investment (before promotion and advertising) in yet another time-travel opus by Christopher Nolan (\u003cem>Interstellar\u003c/em>, \u003cem>Inception\u003c/em>). Bumped by the multiplex-shuttering pandemic from its original worldwide opening date of July 17, \u003cem>Tenet\u003c/em> is now set to open Aug. 26 in some 70 countries before hitting the U.S. Sept. 3 (the front edge of the Labor Day weekend) and China Sept. 4.\u003c/p>\n\u003cp>I get why our bread-and-circuses culture, deprived of our God-given parade of summer blockbusters, is trilling at seeing a shiny new special-effects extravaganza on a genuine big screen. For Northern Californians whose only venue to see \u003cem>Tenet\u003c/em> will be drive-ins, and for any thoughtful filmgoer eager to visit futuristic worlds brimming with ambition, ideas and the ache of human connection, there’s a superior alternative.\u003c/p>\n\u003cp>\u003cb>\u003cem>Tesla\u003c/em>\u003c/b>\u003cbr>\nOpens Aug. 21\u003cbr>\n\u003ca href=\"https://www.ifcfilms.com/films/tesla\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming on demand\u003c/a>\u003c/p>\n\u003cp>The quietly brilliant writer and director Michael Almereyda makes literate masterpieces like \u003cem>Experimenter\u003c/em>, the 2015 drama starring Peter Saarsgard as social psychologist Dr. Stanley Milgram. Yet he remains underrated and largely unknown, and I doubt that this clever and moving take on another scientist ahead of his time, Nikola Tesla, will land him on the late-night talk circuit. We’re all poorer for it, I say.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After an eye-catching glimpse of an awkward Tesla (Ethan Hawke) roller-skating (the scene makes more sense when it is repeated later), the narrative begins in the mid-1880s with his six-month tenure at Edison Machine Works. Tesla is a precocious inventor, but sees himself less as a genius creating something out of nothing than someone channeling the existing energies and invisible forces of the natural world. This awareness of his place in the universe dovetails with his vision of applying science to make life easier for millions of people—a worldview that is some distance from contemporary perceptions of Tesla as either an idealist uninterested in money, a slavish devotee of pure science or a world-class disruptor sadly exploited and discarded.\u003c/p>\n\u003cp>Tesla’s under-control ego contrasts with the self-promotion of Edison (a pitch-perfect Kyle MacLachlan), the arch self-regard of financier J. Pierpont Morgan (Donnie Keshawarz) and the St. Bernard-like affability of George Westinghouse (Jim Gaffigan). But unlike Alfonso Gomez-Rejon’s excellent yet little-seen 2017 film, \u003cem>The Current War\u003c/em>, Almereyda doesn’t present Tesla’s peers as villains. Every choice that Tesla makes, he owns.\u003c/p>\n\u003cp>https://youtu.be/e4U-23TOKms\u003c/p>\n\u003cp>Working with one percent of Nolan’s budget, Almereyda substitutes rear-screen projections for location shoots that elegantly suggest how Tesla lives in his imagination—in his head, as Anne Morgan (Eve Hewson), J.P.’s daughter, Tesla’s would-be suitor and the film’s narrator says. (He’s a germaphobe, too, which puts us in mind of Howard Hughes, another pioneering engineer/inventor whose grip slipped eventually.)\u003c/p>\n\u003cp>Almereyda references Google, iPhones and wi-fi, but he doesn’t reinvent Tesla as a Silicon Valley start-up wunderkind. Tesla is a man of his time (he’s fascinated with Sarah Bernhardt), \u003cem>and\u003c/em> he is outside of time.\u003c/p>\n\u003cp>Tesla, in Ethan Hawke’s riveting, interior portrayal, is a sympathetic, flesh-and-blood figure who perpetually keeps his cards close to his chest. The apex of his performance, and the key to this beautiful movie, is his cryptic, deflecting reply when Anne Morgan asks him, “Is it better to be vindicated or loved?”\u003c/p>\n\u003cp>https://youtu.be/xnSGvR0pZ0g\u003c/p>\n\u003cp>\u003cb>\u003cem>Desert One\u003c/em>\u003c/b>\u003cbr>\nAug. 21\u003cbr>\n\u003ca href=\"https://www.desertonemovie.com/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming via local theaters\u003c/a>\u003c/p>\n\u003cp>The average American knows just enough about Iran to fit on the head of a pin. And that piddling amount begins and ends with the hostages taken at the U.S. embassy in Tehran in 1979. Barbara Kopple’s expertly crafted documentary, \u003cem>Desert One\u003c/em>, is made for that average American, and presumes he or she likes a lot of flags and tears and the absolute minimum of historical context. Wouldn’t want to be controversial, would we? \u003c/p>\n\u003cp>In January, 1979, the dictatorial Shah skipped out of Iran with his life, his wife and millions in Swiss bank accounts. In November, students vented the pent-up wrath of the Islamic Revolution on the U.S. embassy—symbol of the Shah’s main abettor—and seized more than 60 Americans.\u003c/p>\n\u003cp>\u003cem>Desert One\u003c/em> takes its name and its focus from the desolate location in Iran that the U.S. military picked to stage a covert rescue mission the following April. Blending archival footage, animation and contemporary interviews with key participants like hostage Kevin Hermening, Marine Lt. Col. Ed Seiffert and President Jimmy Carter, Kopple has crafted a satisfyingly suspenseful and moving reconstruction of the Delta Force operation.\u003c/p>\n\u003cfigure id=\"attachment_13884958\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13884958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desert One.’ \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, it is wrapped in a superficial overview of the entire 444-day hostage crisis. \u003cem>Desert One\u003c/em> provides a snapshot of the pre-existing relationship between the two countries, going back to the U.S.-backed 1953 coup that ousted democratically elected Prime Minister Mohammad Mosaddegh and put the Shah in power. But because an Iranian national describes that key event, some people (OK, Fox News viewers) will discount or dismiss the U.S.’s involvement—which even President Richard Nixon acknowledged in a taped interview many years later. Why didn’t Kopple use that clip?\u003c/p>\n\u003cp>Possibly because the History network, which commissioned the doc, doesn’t want to rile its audience. If so, it’s a miracle that Kopple included one hostage’s belief (admittedly without evidence) that Ronald Reagan’s presidential campaign played a role in delaying the hostages’ release all the way until one minute after Reagan was sworn in. \u003c/p>\n\u003cp>The investigation necessary to prove the existence of such a calculated, cynical strategy was clearly beyond the purview of this film. Where \u003cem>Desert One\u003c/em> does not stumble is in acknowledging the heroism and sacrifice of the rescue team.\u003c/p>\n\u003cp>https://youtu.be/uSK6wdqo0xY\u003c/p>\n\u003cp>\u003cb>\u003cem>Coup 53\u003c/em>\u003c/b>\u003cbr>\nAug. 19 only\u003cbr>\n\u003ca href=\"https://bampfa.org/event/coup-53\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and \u003ca href=\"https://watch.eventive.org/coup53-us/play/5f1dfac316af9c00785ab100\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Most of the dirty details of the overthrow of Mosaddegh are in Taghi Amirani and local legend Walter Murch’s years-in-production documentary, which would seemingly make it the ideal complement to \u003cem>Desert One\u003c/em>. But the filmmakers test the viewer’s patience by turning the first hour into a self-congratulatory journey of discovery and detection revolving around Amirani’s hunt for documents and witnesses.\u003c/p>\n\u003cp>When they finally get to the coup, it’s essential history. The plot was conceived with Churchill’s OK after Mosaddegh nationalized Iranian oil production and threw out the British. President Truman was opposed, but the fervidly anti-Communist Eisenhower regime—in particular Secretary of State John Foster Dulles and his brother Allen, director of the CIA—embraced the scheme. \u003c/p>\n\u003cfigure id=\"attachment_13884950\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200.jpg\" alt=\"\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13884950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-768x510.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Fiennes as Norman Darbyshire in ‘Coup 53.’ \u003ccite>(Chris Morphet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the U.S. eventually admitted its participation (see Nixon, above), the stubborn British never have. Several books have shot holes in the U.K.’s denial, yet Amirani is obsessed with getting proof on camera. His Holy Grail is a stunningly candid interview conducted with the late MI6 operative Norman Darbyshire for a 1980s British TV series, \u003cem>End of Empire\u003c/em>.\u003c/p>\n\u003cp>Amirani finds an uncut transcript of the interview, but Darbyshire—who planned, staffed and executed the coup—was cut out of the broadcast version 25 years ago. Various parties feign ignorance, suggesting a cover-up that carries into the present. The cinematic solution, proposed by Murch, is to cast Ralph Fiennes to play Darbyshire on camera. (Fiennes and Murch met many moons ago on \u003cem>The English Patient\u003c/em>.)\u003c/p>\n\u003cp>It’s gimmicky but fun, for Fiennes is an exceedingly good actor. There’s also the delicious irony of the (fictional) head of MI6 (in the Bond films) spilling the beans on a covert operation. The film streams via the Roxie and BAMPFA Wednesday, Aug. 19 and the filmmakers and Fiennes will join in a Q&A via the Roxie on Thursday, Aug. 20.\u003c/p>\n\u003cfigure id=\"attachment_13884962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200.jpg\" alt=\"\" width=\"1200\" height=\"835\" class=\"size-full wp-image-13884962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-768x534.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Activists at Diablo Canyon in ‘Dark Circle.’ \u003ccite>(Courtesy First Run Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Dark Circle\u003c/em>\u003c/b>\u003cbr>\nOpens Aug. 21\u003cbr>\n\u003ca href=\"https://www.pelicanmedia.org/dark-circle\" rel=\"noopener noreferrer\" target=\"_blank\">Metrograph\u003c/a>\u003c/p>\n\u003cp>In a perfect world, the new restoration of \u003cem>Dark Circle\u003c/em> would turn up when the outlook for the country’s—and the world’s—fortunes looked brighter. Released in 1982, when the massive dangers of the atomic age were well known, but before Chernobyl and Fukushima became household names, Bay Area filmmakers Judy Irving, Christopher Beaver and Ruth Landy’s documentary remains as horrifically mesmerizing as ever. An unforgettable, deeply sobering experience.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All sectors of the movie business are fixated this month on Warner Bros.’ strategy to squeeze every nickel out of its reported $205 million investment (before promotion and advertising) in yet another time-travel opus by Christopher Nolan (\u003cem>Interstellar\u003c/em>, \u003cem>Inception\u003c/em>). Bumped by the multiplex-shuttering pandemic from its original worldwide opening date of July 17, \u003cem>Tenet\u003c/em> is now set to open Aug. 26 in some 70 countries before hitting the U.S. Sept. 3 (the front edge of the Labor Day weekend) and China Sept. 4.\u003c/p>\n\u003cp>I get why our bread-and-circuses culture, deprived of our God-given parade of summer blockbusters, is trilling at seeing a shiny new special-effects extravaganza on a genuine big screen. For Northern Californians whose only venue to see \u003cem>Tenet\u003c/em> will be drive-ins, and for any thoughtful filmgoer eager to visit futuristic worlds brimming with ambition, ideas and the ache of human connection, there’s a superior alternative.\u003c/p>\n\u003cp>\u003cb>\u003cem>Tesla\u003c/em>\u003c/b>\u003cbr>\nOpens Aug. 21\u003cbr>\n\u003ca href=\"https://www.ifcfilms.com/films/tesla\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming on demand\u003c/a>\u003c/p>\n\u003cp>The quietly brilliant writer and director Michael Almereyda makes literate masterpieces like \u003cem>Experimenter\u003c/em>, the 2015 drama starring Peter Saarsgard as social psychologist Dr. Stanley Milgram. Yet he remains underrated and largely unknown, and I doubt that this clever and moving take on another scientist ahead of his time, Nikola Tesla, will land him on the late-night talk circuit. We’re all poorer for it, I say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After an eye-catching glimpse of an awkward Tesla (Ethan Hawke) roller-skating (the scene makes more sense when it is repeated later), the narrative begins in the mid-1880s with his six-month tenure at Edison Machine Works. Tesla is a precocious inventor, but sees himself less as a genius creating something out of nothing than someone channeling the existing energies and invisible forces of the natural world. This awareness of his place in the universe dovetails with his vision of applying science to make life easier for millions of people—a worldview that is some distance from contemporary perceptions of Tesla as either an idealist uninterested in money, a slavish devotee of pure science or a world-class disruptor sadly exploited and discarded.\u003c/p>\n\u003cp>Tesla’s under-control ego contrasts with the self-promotion of Edison (a pitch-perfect Kyle MacLachlan), the arch self-regard of financier J. Pierpont Morgan (Donnie Keshawarz) and the St. Bernard-like affability of George Westinghouse (Jim Gaffigan). But unlike Alfonso Gomez-Rejon’s excellent yet little-seen 2017 film, \u003cem>The Current War\u003c/em>, Almereyda doesn’t present Tesla’s peers as villains. Every choice that Tesla makes, he owns.\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/e4U-23TOKms'\n title='//www.youtube.com/embed/e4U-23TOKms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Working with one percent of Nolan’s budget, Almereyda substitutes rear-screen projections for location shoots that elegantly suggest how Tesla lives in his imagination—in his head, as Anne Morgan (Eve Hewson), J.P.’s daughter, Tesla’s would-be suitor and the film’s narrator says. (He’s a germaphobe, too, which puts us in mind of Howard Hughes, another pioneering engineer/inventor whose grip slipped eventually.)\u003c/p>\n\u003cp>Almereyda references Google, iPhones and wi-fi, but he doesn’t reinvent Tesla as a Silicon Valley start-up wunderkind. Tesla is a man of his time (he’s fascinated with Sarah Bernhardt), \u003cem>and\u003c/em> he is outside of time.\u003c/p>\n\u003cp>Tesla, in Ethan Hawke’s riveting, interior portrayal, is a sympathetic, flesh-and-blood figure who perpetually keeps his cards close to his chest. The apex of his performance, and the key to this beautiful movie, is his cryptic, deflecting reply when Anne Morgan asks him, “Is it better to be vindicated or loved?”\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/xnSGvR0pZ0g'\n title='//www.youtube.com/embed/xnSGvR0pZ0g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Desert One\u003c/em>\u003c/b>\u003cbr>\nAug. 21\u003cbr>\n\u003ca href=\"https://www.desertonemovie.com/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming via local theaters\u003c/a>\u003c/p>\n\u003cp>The average American knows just enough about Iran to fit on the head of a pin. And that piddling amount begins and ends with the hostages taken at the U.S. embassy in Tehran in 1979. Barbara Kopple’s expertly crafted documentary, \u003cem>Desert One\u003c/em>, is made for that average American, and presumes he or she likes a lot of flags and tears and the absolute minimum of historical context. Wouldn’t want to be controversial, would we? \u003c/p>\n\u003cp>In January, 1979, the dictatorial Shah skipped out of Iran with his life, his wife and millions in Swiss bank accounts. In November, students vented the pent-up wrath of the Islamic Revolution on the U.S. embassy—symbol of the Shah’s main abettor—and seized more than 60 Americans.\u003c/p>\n\u003cp>\u003cem>Desert One\u003c/em> takes its name and its focus from the desolate location in Iran that the U.S. military picked to stage a covert rescue mission the following April. Blending archival footage, animation and contemporary interviews with key participants like hostage Kevin Hermening, Marine Lt. Col. Ed Seiffert and President Jimmy Carter, Kopple has crafted a satisfyingly suspenseful and moving reconstruction of the Delta Force operation.\u003c/p>\n\u003cfigure id=\"attachment_13884958\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13884958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DesertOne_Film-Still-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desert One.’ \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, it is wrapped in a superficial overview of the entire 444-day hostage crisis. \u003cem>Desert One\u003c/em> provides a snapshot of the pre-existing relationship between the two countries, going back to the U.S.-backed 1953 coup that ousted democratically elected Prime Minister Mohammad Mosaddegh and put the Shah in power. But because an Iranian national describes that key event, some people (OK, Fox News viewers) will discount or dismiss the U.S.’s involvement—which even President Richard Nixon acknowledged in a taped interview many years later. Why didn’t Kopple use that clip?\u003c/p>\n\u003cp>Possibly because the History network, which commissioned the doc, doesn’t want to rile its audience. If so, it’s a miracle that Kopple included one hostage’s belief (admittedly without evidence) that Ronald Reagan’s presidential campaign played a role in delaying the hostages’ release all the way until one minute after Reagan was sworn in. \u003c/p>\n\u003cp>The investigation necessary to prove the existence of such a calculated, cynical strategy was clearly beyond the purview of this film. Where \u003cem>Desert One\u003c/em> does not stumble is in acknowledging the heroism and sacrifice of the rescue team.\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/uSK6wdqo0xY'\n title='//www.youtube.com/embed/uSK6wdqo0xY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Coup 53\u003c/em>\u003c/b>\u003cbr>\nAug. 19 only\u003cbr>\n\u003ca href=\"https://bampfa.org/event/coup-53\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and \u003ca href=\"https://watch.eventive.org/coup53-us/play/5f1dfac316af9c00785ab100\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Most of the dirty details of the overthrow of Mosaddegh are in Taghi Amirani and local legend Walter Murch’s years-in-production documentary, which would seemingly make it the ideal complement to \u003cem>Desert One\u003c/em>. But the filmmakers test the viewer’s patience by turning the first hour into a self-congratulatory journey of discovery and detection revolving around Amirani’s hunt for documents and witnesses.\u003c/p>\n\u003cp>When they finally get to the coup, it’s essential history. The plot was conceived with Churchill’s OK after Mosaddegh nationalized Iranian oil production and threw out the British. President Truman was opposed, but the fervidly anti-Communist Eisenhower regime—in particular Secretary of State John Foster Dulles and his brother Allen, director of the CIA—embraced the scheme. \u003c/p>\n\u003cfigure id=\"attachment_13884950\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200.jpg\" alt=\"\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13884950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ralph_Fiennes_as_Norman_Darbyshire_in_COUP_53_-__3_-_Credit_CHRIS_MORPHET_1200-768x510.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Fiennes as Norman Darbyshire in ‘Coup 53.’ \u003ccite>(Chris Morphet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the U.S. eventually admitted its participation (see Nixon, above), the stubborn British never have. Several books have shot holes in the U.K.’s denial, yet Amirani is obsessed with getting proof on camera. His Holy Grail is a stunningly candid interview conducted with the late MI6 operative Norman Darbyshire for a 1980s British TV series, \u003cem>End of Empire\u003c/em>.\u003c/p>\n\u003cp>Amirani finds an uncut transcript of the interview, but Darbyshire—who planned, staffed and executed the coup—was cut out of the broadcast version 25 years ago. Various parties feign ignorance, suggesting a cover-up that carries into the present. The cinematic solution, proposed by Murch, is to cast Ralph Fiennes to play Darbyshire on camera. (Fiennes and Murch met many moons ago on \u003cem>The English Patient\u003c/em>.)\u003c/p>\n\u003cp>It’s gimmicky but fun, for Fiennes is an exceedingly good actor. There’s also the delicious irony of the (fictional) head of MI6 (in the Bond films) spilling the beans on a covert operation. The film streams via the Roxie and BAMPFA Wednesday, Aug. 19 and the filmmakers and Fiennes will join in a Q&A via the Roxie on Thursday, Aug. 20.\u003c/p>\n\u003cfigure id=\"attachment_13884962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200.jpg\" alt=\"\" width=\"1200\" height=\"835\" class=\"size-full wp-image-13884962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/thumbnail_1.-Activists-fg-Diablo-Canyon-bg_1200-768x534.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Activists at Diablo Canyon in ‘Dark Circle.’ \u003ccite>(Courtesy First Run Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Dark Circle\u003c/em>\u003c/b>\u003cbr>\nOpens Aug. 21\u003cbr>\n\u003ca href=\"https://www.pelicanmedia.org/dark-circle\" rel=\"noopener noreferrer\" target=\"_blank\">Metrograph\u003c/a>\u003c/p>\n\u003cp>In a perfect world, the new restoration of \u003cem>Dark Circle\u003c/em> would turn up when the outlook for the country’s—and the world’s—fortunes looked brighter. Released in 1982, when the massive dangers of the atomic age were well known, but before Chernobyl and Fukushima became household names, Bay Area filmmakers Judy Irving, Christopher Beaver and Ruth Landy’s documentary remains as horrifically mesmerizing as ever. An unforgettable, deeply sobering experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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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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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"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
},
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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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},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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