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"title": "Doc of Sculptor Ursula von Rydingsvard Goes ‘Into Her Own’",
"headTitle": "Doc of Sculptor Ursula von Rydingsvard Goes ‘Into Her Own’ | KQED",
"content": "\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Now Playing! Cinema at Home, From Your Favorite Local Theaters | KQED",
"content": "\u003cp>In the early days of the COVID-19 shutdown, both the trade and mainstream press fretted that the spike in home streaming would accelerate the decline, if not demise, of the theater experience. Even at this premature date, it seems safe to conclude that, for better or worse, it will take more than a pandemic to knock out Hollywood blockbusters and the multiplexes that show them.\u003c/p>\n\u003cp>On the contrary, sheltering in one’s own place has reminded us of the fundamental need to congregate with strangers in public spaces. I’ll wager that well after lockdown fever has subsided and pent-up demand is fulfilled—by next summer, let’s say—people will pack movie theaters in numbers not seen since the turn of the millennium.\u003c/p>\n\u003cp>Arthouse cinemas, located in dense urban centers and catering to diverse tastes, will likewise thrive. Even now, the arthouses—in partnership with innovative independent distributors—have been quick to respond to the current climate via virtual cinemas. As an alternative to video on demand through your cable TV box, your favorite theater is offering new foreign films, indies and documentaries for your rental pleasure.\u003c/p>\n\u003cp>Cinema at home provides a revenue stream for specialized theaters, and a way for filmgoers to support their local haunts until we can amble down the aisles in person. The programming typically combines wide releases with exclusive picks, sometimes with variable pricing. Bookmark this page and check your favorite theater’s offerings regularly.\u003c/p>\n\u003cfigure id=\"attachment_13881295\" class=\"wp-caption aligncenter\" style=\"max-width: 945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/LuckyGma2.jpg\" alt=\"\" width=\"945\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-768x553.jpg 768w\" sizes=\"(max-width: 945px) 100vw, 945px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Lucky Grandma.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ondemand.drafthouse.com\" target=\"blank\" rel=\"noopener noreferrer\">Alamo Drafthouse\u003c/a>\u003cbr>\nThe Texas chain with the Mission District outpost has an extensive online selection, Alamo On Demand, that ranges from this week’s releases (\u003cem>Lucky Grandma\u003c/em>) to recent stuff you may have missed (\u003cem>Portrait of a Lady on Fire\u003c/em>) to vintage faves (\u003cem>Rock ‘n’ Roll High School\u003c/em>).\u003c/p>\n\u003cp>https://vimeo.com/409776896\u003c/p>\n\u003cp>\u003ca href=\"https://bampfa.org/from-home#watch-from-home\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\nThe East Bay pantheon’s online cinema, BAMPFA from Home, hosts limited runs of restorations and revivals (Hungarian director István Szabó’s ’80s triumphs \u003cem>Confidence\u003c/em>, \u003cem>Mephisto\u003c/em> and \u003cem>Colonel Redl\u003c/em>) as well as hotly anticipated new films (\u003cem>The Cordillera of Dreams\u003c/em>, Patricio Guzmán’s latest profound essay on Chilean geography, politics and memory).\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinemasf.com\" target=\"_blank\" rel=\"noopener noreferrer\">CinemaSF\u003c/a>\u003cbr>\nThe nonprofit parent of the Balboa and the Vogue has curated an excellent virtual screening room of new and recent films. The foodie doc \u003cem>Diana Kennedy: Nothing Fancy\u003c/em> is on now, with Penny Lane’s latest curio, \u003cem>Hail Satan?\u003c/em> opening Friday, June 5. Mark your calendar for June 26 and \u003cem>Ella Fitzgerald: Just One of Those Things\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://larktheater.net\" target=\"_blank\" rel=\"noopener noreferrer\">Lark\u003c/a>\u003cbr>\nMarin’s indie stalwart offers a wide-ranging smorgasbord, from the timely (unhappily so) documentary \u003cem>American Trial: The Eric Garner Story\u003c/em> to the British heart-tugger \u003cem>Military Wives\u003c/em> (starring international treasure Kristin Scott Thomas and Sharon Horgan).\u003c/p>\n\u003cfigure id=\"attachment_13881296\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ursula von Rydinsgsvard’s sculpture ‘Ona’ at Barclays Center, Brooklyn, 2013. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.roxie.com\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a>\u003cbr>\nRoxie Virtual Cinema is the place to find fringier docs and indies like \u003cem>José\u003c/em>, Li Cheng’s gay love story set in Guatemala City. The Roxie also programs non-exclusives, such as \u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>, a portrait of the revered sculptor opening Friday, June 5 at several of the theaters on this list.\u003c/p>\n\u003cp>\u003ca href=\"https://rafaelfilm.cafilm.org\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a>\u003cbr>\nThe California Film Institute’s Rafael@Home offers an eclectic and often-surprising lineup, including the work of Marin County filmmakers Nancy Kelly and Kenji Yamamura (the splendidly restored 1991 Western \u003cem>Thousand Pieces of Gold\u003c/em>, pairing a young Rosalind Chao and Chris Cooper) and Eli Adler (\u003cem>Surviving Skokie\u003c/em>, a gripping 2015 doc about post-Holocaust anti-Semitism).\u003c/p>\n\u003cp>While some films are only available for a limited time, it turns out it’s often easier to extend a virtual booking than a physical one. That’s not a reason to procrastinate, mind you, but it is a rare silver lining in the current maelstrom.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early days of the COVID-19 shutdown, both the trade and mainstream press fretted that the spike in home streaming would accelerate the decline, if not demise, of the theater experience. Even at this premature date, it seems safe to conclude that, for better or worse, it will take more than a pandemic to knock out Hollywood blockbusters and the multiplexes that show them.\u003c/p>\n\u003cp>On the contrary, sheltering in one’s own place has reminded us of the fundamental need to congregate with strangers in public spaces. I’ll wager that well after lockdown fever has subsided and pent-up demand is fulfilled—by next summer, let’s say—people will pack movie theaters in numbers not seen since the turn of the millennium.\u003c/p>\n\u003cp>Arthouse cinemas, located in dense urban centers and catering to diverse tastes, will likewise thrive. Even now, the arthouses—in partnership with innovative independent distributors—have been quick to respond to the current climate via virtual cinemas. As an alternative to video on demand through your cable TV box, your favorite theater is offering new foreign films, indies and documentaries for your rental pleasure.\u003c/p>\n\u003cp>Cinema at home provides a revenue stream for specialized theaters, and a way for filmgoers to support their local haunts until we can amble down the aisles in person. The programming typically combines wide releases with exclusive picks, sometimes with variable pricing. Bookmark this page and check your favorite theater’s offerings regularly.\u003c/p>\n\u003cfigure id=\"attachment_13881295\" class=\"wp-caption aligncenter\" style=\"max-width: 945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/LuckyGma2.jpg\" alt=\"\" width=\"945\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-768x553.jpg 768w\" sizes=\"(max-width: 945px) 100vw, 945px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Lucky Grandma.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ondemand.drafthouse.com\" target=\"blank\" rel=\"noopener noreferrer\">Alamo Drafthouse\u003c/a>\u003cbr>\nThe Texas chain with the Mission District outpost has an extensive online selection, Alamo On Demand, that ranges from this week’s releases (\u003cem>Lucky Grandma\u003c/em>) to recent stuff you may have missed (\u003cem>Portrait of a Lady on Fire\u003c/em>) to vintage faves (\u003cem>Rock ‘n’ Roll High School\u003c/em>).\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://bampfa.org/from-home#watch-from-home\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\nThe East Bay pantheon’s online cinema, BAMPFA from Home, hosts limited runs of restorations and revivals (Hungarian director István Szabó’s ’80s triumphs \u003cem>Confidence\u003c/em>, \u003cem>Mephisto\u003c/em> and \u003cem>Colonel Redl\u003c/em>) as well as hotly anticipated new films (\u003cem>The Cordillera of Dreams\u003c/em>, Patricio Guzmán’s latest profound essay on Chilean geography, politics and memory).\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinemasf.com\" target=\"_blank\" rel=\"noopener noreferrer\">CinemaSF\u003c/a>\u003cbr>\nThe nonprofit parent of the Balboa and the Vogue has curated an excellent virtual screening room of new and recent films. The foodie doc \u003cem>Diana Kennedy: Nothing Fancy\u003c/em> is on now, with Penny Lane’s latest curio, \u003cem>Hail Satan?\u003c/em> opening Friday, June 5. Mark your calendar for June 26 and \u003cem>Ella Fitzgerald: Just One of Those Things\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://larktheater.net\" target=\"_blank\" rel=\"noopener noreferrer\">Lark\u003c/a>\u003cbr>\nMarin’s indie stalwart offers a wide-ranging smorgasbord, from the timely (unhappily so) documentary \u003cem>American Trial: The Eric Garner Story\u003c/em> to the British heart-tugger \u003cem>Military Wives\u003c/em> (starring international treasure Kristin Scott Thomas and Sharon Horgan).\u003c/p>\n\u003cfigure id=\"attachment_13881296\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ursula von Rydinsgsvard’s sculpture ‘Ona’ at Barclays Center, Brooklyn, 2013. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.roxie.com\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a>\u003cbr>\nRoxie Virtual Cinema is the place to find fringier docs and indies like \u003cem>José\u003c/em>, Li Cheng’s gay love story set in Guatemala City. The Roxie also programs non-exclusives, such as \u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>, a portrait of the revered sculptor opening Friday, June 5 at several of the theaters on this list.\u003c/p>\n\u003cp>\u003ca href=\"https://rafaelfilm.cafilm.org\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a>\u003cbr>\nThe California Film Institute’s Rafael@Home offers an eclectic and often-surprising lineup, including the work of Marin County filmmakers Nancy Kelly and Kenji Yamamura (the splendidly restored 1991 Western \u003cem>Thousand Pieces of Gold\u003c/em>, pairing a young Rosalind Chao and Chris Cooper) and Eli Adler (\u003cem>Surviving Skokie\u003c/em>, a gripping 2015 doc about post-Holocaust anti-Semitism).\u003c/p>\n\u003cp>While some films are only available for a limited time, it turns out it’s often easier to extend a virtual booking than a physical one. That’s not a reason to procrastinate, mind you, but it is a rare silver lining in the current maelstrom.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "A Sketchfest Tribute to Remember Fred Willard By",
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"content": "\u003cp>It’s the mark of a good film comedian when one of their lines enters your everyday lexicon. And so it is with me and Fred Willard, the film comedian who died last week at age 86. Any time I see a dog of the hound variety, I can’t help but blurt out, “This is just an idea, but why don’t they give him one of those Sherlock Holmes hats, and put a little pipe in his mouth?” On its face, it’s a stupid, throwaway line, one that you might recognize from the 2000 comedy \u003cem>Best In Show\u003c/em>. And yet Willard makes it so funny that it sticks with you. This was the \u003ca href=\"https://thedissolve.com/news/4777-in-best-in-show-fred-willard-gets-inside-the-brain/\" rel=\"noopener noreferrer\" target=\"_blank\">mark of his talent\u003c/a>, to render seemingly improvised asides as the main joke.\u003c/p>\n\u003cp>Three years ago, the organizers of Sketchfest decided to pull Willard out of the supporting role and give him a bona fide tribute in San Francisco, complete with co-stars, friends and the director Christopher Guest, with whom he made films like \u003cem>This is Spinal Tap\u003c/em>, \u003cem>Waiting for Guffman\u003c/em>, \u003cem>A Mighty Wind\u003c/em> and, of course, \u003cem>Best in Show\u003c/em>. To honor him, Sketchfest has put the entire tribute to Willard up \u003ca href=\"https://vimeo.com/420730208\" rel=\"noopener noreferrer\" target=\"_blank\">online for free\u003c/a>, as part of a pivot to online offerings. Also on the Sketchfest site are past tributes to Molly Shannon, Peaches Christ, the cast of \u003cem>Airplane\u003c/em>, and the cast of \u003cem>Best in Show\u003c/em>—with more archival tributes added weekly. \u003ca href=\"https://www.sfsketchfest.com/watch/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the mark of a good film comedian when one of their lines enters your everyday lexicon. And so it is with me and Fred Willard, the film comedian who died last week at age 86. Any time I see a dog of the hound variety, I can’t help but blurt out, “This is just an idea, but why don’t they give him one of those Sherlock Holmes hats, and put a little pipe in his mouth?” On its face, it’s a stupid, throwaway line, one that you might recognize from the 2000 comedy \u003cem>Best In Show\u003c/em>. And yet Willard makes it so funny that it sticks with you. This was the \u003ca href=\"https://thedissolve.com/news/4777-in-best-in-show-fred-willard-gets-inside-the-brain/\" rel=\"noopener noreferrer\" target=\"_blank\">mark of his talent\u003c/a>, to render seemingly improvised asides as the main joke.\u003c/p>\n\u003cp>Three years ago, the organizers of Sketchfest decided to pull Willard out of the supporting role and give him a bona fide tribute in San Francisco, complete with co-stars, friends and the director Christopher Guest, with whom he made films like \u003cem>This is Spinal Tap\u003c/em>, \u003cem>Waiting for Guffman\u003c/em>, \u003cem>A Mighty Wind\u003c/em> and, of course, \u003cem>Best in Show\u003c/em>. To honor him, Sketchfest has put the entire tribute to Willard up \u003ca href=\"https://vimeo.com/420730208\" rel=\"noopener noreferrer\" target=\"_blank\">online for free\u003c/a>, as part of a pivot to online offerings. Also on the Sketchfest site are past tributes to Molly Shannon, Peaches Christ, the cast of \u003cem>Airplane\u003c/em>, and the cast of \u003cem>Best in Show\u003c/em>—with more archival tributes added weekly. \u003ca href=\"https://www.sfsketchfest.com/watch/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! A Global Film Fest and Evidence Against Jeffrey Epstein",
"headTitle": "Now Playing! A Global Film Fest and Evidence Against Jeffrey Epstein | KQED",
"content": "\u003cp>This week’s streaming highlights note the arrival of summer with the choice of dipping a toe (into a big pool) or going for full immersion (in a mucky swamp). The former will leave you refreshed, by and large, while the latter—well, one shower may not be enough.\u003c/p>\n\u003cp>\u003cb>We Are One: A Global Film Festival\u003c/b>\u003cbr>\n\u003ca href=\"https://www.youtube.com/weareone\" rel=\"noopener noreferrer\" target=\"_blank\">YouTube\u003c/a>\u003cbr>\nFor all its strange delights, the chunk of the canceled \u003ca href=\"https://www.kqed.org/arts/13879450/now-playing-sample-a-free-sxsw-combo-platter-on-amazon-prime\" rel=\"noopener noreferrer\" target=\"_blank\">South by Southwest hoedown\u003c/a> that Amazon Prime streamed earlier this month demonstrated the limits of virtual film festivals. Without the shared experience of a live audience, a film loses a huge component of what makes it effective, and special. This goes for any movie, of course—I’m mulling a story on the purpose and practice of public spaces like theaters in the eventual post-COVID-19 world—but it’s especially true for a one-off festival screening.\u003c/p>\n\u003cp>With festivals grappling with and grasping for ways to be connected and relevant to their constituencies during shelter in place, they are pretty much limited to online viewing. On the plus side, with programming delivered directly to your domicile, physical proximity to a venue or festival isn’t an issue. \u003c/p>\n\u003cp>If you missed or skipped the SXSW online edition, take a flyer on \u003ca href=\"http://www.weareoneglobalfestival.com/\" rel=\"noopener noreferrer\" target=\"_blank\">We Are One\u003c/a> (May 29–June 7). Some 20 festivals worldwide contributed programs, from heavy hitters like Cannes, Berlin, Venice and Toronto to respected regional events like Tokyo, Locarno and Mumbai. The lineup includes 31 feature films (including eight documentaries), 72 shorts (including 15 docs) and 15 archived talks (including a master class with Tantoo Cardinal). \u003c/p>\n\u003cfigure id=\"attachment_13881127\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CrazyWorld.jpg\" alt=\"\" width=\"1152\" height=\"576\" class=\"size-full wp-image-13881127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-1020x510.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crazy World.’ \u003ccite>(Courtesy of Nabwana I.G.G.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The films on offer include \u003cem>\u003ca href=\"http://www.weareoneglobalfestival.com/events/crazy-world-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Crazy World\u003c/a>\u003c/em>, a highlight of the Midnight Madness sidebar at last fall’s Toronto fest. Ugandan DIY maniac/maestro Nabwana I.G.G.’s latest jaw-dropping, no-budget action extravaganza is, um, something. (Check out his previous movies, \u003cem>\u003ca href=\"https://www.amazon.com/Bad-Black-Alan-Ssali-Hofmanis/dp/B07XJLY5TT\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Black\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.amazon.com/Killed-Captain-Alex-Kakule-William/dp/B07Y2HP7KX/\" rel=\"noopener noreferrer\" target=\"_blank\">Who Killed Captain Alex?\u003c/a>\u003c/em>, on Amazon Prime.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At some distance on the culture spectrum lies the invigorating and beguiling dance film \u003cem>\u003ca href=\"https://youtu.be/JEiusObynrQ\" rel=\"noopener noreferrer\" target=\"_blank\">Love Chapter 2\u003c/a>\u003c/em>. Israeli dancer-cum-choreographer Sharon Eyal’s modern ballet, backed with an intense score, is one of the Jerusalem Film Festival’s contributions.\u003c/p>\n\u003cp>There’s no cost to watch anything on We Are One, though donations to \u003ca href=\"https://covid19responsefund.org/en/\" rel=\"noopener noreferrer\" target=\"_blank\">WHO’s COVID-19 Solidarity Response Fund\u003c/a> and local relief agencies are encouraged.\u003c/p>\n\u003cfigure id=\"attachment_13881082\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRich_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Jeffrey Epstein: Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Jeffrey Epstein: Filthy Rich\u003c/i>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80224905\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nWe’re inundated with a plethora of multi-episode nonfiction (i.e. limited series) on every cable network and streaming platform. As befits the infotainment age, most of them lean more toward sensationalism (and exploitation) than investigative journalism. Lisa Bryant’s deeply disturbing four-episode dive into Jeffrey Epstein’s long-running molestation pyramid scheme (as one journalist dubs it) is neither.\u003c/p>\n\u003cp>What it is, in purpose and execution, is a forum to give voice to approximately a dozen of the literally hundreds of women who were lured, abused and raped as vulnerable adolescents and teenagers by the now-deceased New York/Palm Beach predator Jeffrey Epstein. I suppose I should toss “alleged” into that sentence somewhere, since Epstein escaped this mortal coil before he could be tried and convicted in court. In the court of public opinion, however, which is where \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> rests its case, only a minority will give much weight to “alleged.”\u003c/p>\n\u003cp>One of those, no doubt, is the reptilian lawyer and Epstein pal Alan Dershowitz, who is the only figure on the perpetrator’s side of the aisle to offer a rebuttal to Bryant’s camera. It isn’t the filmmaker’s fault that she was unable to obtain interviews with Ghislaine Maxwell or the other women who (allegedly) charmingly procured underage girls for Epstein over a period of at least 20 years. But the documentary can’t accurately be described as an investigation in the absence of that testimony, or any other new information. (Nor is it sullied by the stuff of exploitation—hokey reenactments, cheap-shot filler and a thumping soundtrack.)\u003c/p>\n\u003cfigure id=\"attachment_13881130\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Maria Farmer in ‘Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is, on one level, a necessary and welcome piece of historical journalism that collects in one place, via interviews with a chief of police, journalists and survivors’ attorneys, the chain of events that led to Epstein’s long-running evasion of justice. Florida law enforcement and newspaper reporters did ace work, only to be sabotaged by a U.S. attorney whose presumed corruption still needs to be plumbed. \u003c/p>\n\u003cp>Frankly, this is all beside the point. The raison d’être of this documentary are the numerous wounded and brave accounts by young women. Their detailed descriptions of the horrific manipulation and exploitation they suffered, at the hands of a demented individual and his various assistants and abettors, comprise a catalog of evidence that is too monumental to discount, let alone disbelieve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its core, \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> is a handsomely illustrated talking-head documentary. It isn’t drama, and it certainly isn’t art. In this case, that’s just right.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s streaming highlights note the arrival of summer with the choice of dipping a toe (into a big pool) or going for full immersion (in a mucky swamp). The former will leave you refreshed, by and large, while the latter—well, one shower may not be enough.\u003c/p>\n\u003cp>\u003cb>We Are One: A Global Film Festival\u003c/b>\u003cbr>\n\u003ca href=\"https://www.youtube.com/weareone\" rel=\"noopener noreferrer\" target=\"_blank\">YouTube\u003c/a>\u003cbr>\nFor all its strange delights, the chunk of the canceled \u003ca href=\"https://www.kqed.org/arts/13879450/now-playing-sample-a-free-sxsw-combo-platter-on-amazon-prime\" rel=\"noopener noreferrer\" target=\"_blank\">South by Southwest hoedown\u003c/a> that Amazon Prime streamed earlier this month demonstrated the limits of virtual film festivals. Without the shared experience of a live audience, a film loses a huge component of what makes it effective, and special. This goes for any movie, of course—I’m mulling a story on the purpose and practice of public spaces like theaters in the eventual post-COVID-19 world—but it’s especially true for a one-off festival screening.\u003c/p>\n\u003cp>With festivals grappling with and grasping for ways to be connected and relevant to their constituencies during shelter in place, they are pretty much limited to online viewing. On the plus side, with programming delivered directly to your domicile, physical proximity to a venue or festival isn’t an issue. \u003c/p>\n\u003cp>If you missed or skipped the SXSW online edition, take a flyer on \u003ca href=\"http://www.weareoneglobalfestival.com/\" rel=\"noopener noreferrer\" target=\"_blank\">We Are One\u003c/a> (May 29–June 7). Some 20 festivals worldwide contributed programs, from heavy hitters like Cannes, Berlin, Venice and Toronto to respected regional events like Tokyo, Locarno and Mumbai. The lineup includes 31 feature films (including eight documentaries), 72 shorts (including 15 docs) and 15 archived talks (including a master class with Tantoo Cardinal). \u003c/p>\n\u003cfigure id=\"attachment_13881127\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CrazyWorld.jpg\" alt=\"\" width=\"1152\" height=\"576\" class=\"size-full wp-image-13881127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-1020x510.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crazy World.’ \u003ccite>(Courtesy of Nabwana I.G.G.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The films on offer include \u003cem>\u003ca href=\"http://www.weareoneglobalfestival.com/events/crazy-world-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Crazy World\u003c/a>\u003c/em>, a highlight of the Midnight Madness sidebar at last fall’s Toronto fest. Ugandan DIY maniac/maestro Nabwana I.G.G.’s latest jaw-dropping, no-budget action extravaganza is, um, something. (Check out his previous movies, \u003cem>\u003ca href=\"https://www.amazon.com/Bad-Black-Alan-Ssali-Hofmanis/dp/B07XJLY5TT\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Black\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.amazon.com/Killed-Captain-Alex-Kakule-William/dp/B07Y2HP7KX/\" rel=\"noopener noreferrer\" target=\"_blank\">Who Killed Captain Alex?\u003c/a>\u003c/em>, on Amazon Prime.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At some distance on the culture spectrum lies the invigorating and beguiling dance film \u003cem>\u003ca href=\"https://youtu.be/JEiusObynrQ\" rel=\"noopener noreferrer\" target=\"_blank\">Love Chapter 2\u003c/a>\u003c/em>. Israeli dancer-cum-choreographer Sharon Eyal’s modern ballet, backed with an intense score, is one of the Jerusalem Film Festival’s contributions.\u003c/p>\n\u003cp>There’s no cost to watch anything on We Are One, though donations to \u003ca href=\"https://covid19responsefund.org/en/\" rel=\"noopener noreferrer\" target=\"_blank\">WHO’s COVID-19 Solidarity Response Fund\u003c/a> and local relief agencies are encouraged.\u003c/p>\n\u003cfigure id=\"attachment_13881082\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRich_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Jeffrey Epstein: Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Jeffrey Epstein: Filthy Rich\u003c/i>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80224905\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nWe’re inundated with a plethora of multi-episode nonfiction (i.e. limited series) on every cable network and streaming platform. As befits the infotainment age, most of them lean more toward sensationalism (and exploitation) than investigative journalism. Lisa Bryant’s deeply disturbing four-episode dive into Jeffrey Epstein’s long-running molestation pyramid scheme (as one journalist dubs it) is neither.\u003c/p>\n\u003cp>What it is, in purpose and execution, is a forum to give voice to approximately a dozen of the literally hundreds of women who were lured, abused and raped as vulnerable adolescents and teenagers by the now-deceased New York/Palm Beach predator Jeffrey Epstein. I suppose I should toss “alleged” into that sentence somewhere, since Epstein escaped this mortal coil before he could be tried and convicted in court. In the court of public opinion, however, which is where \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> rests its case, only a minority will give much weight to “alleged.”\u003c/p>\n\u003cp>One of those, no doubt, is the reptilian lawyer and Epstein pal Alan Dershowitz, who is the only figure on the perpetrator’s side of the aisle to offer a rebuttal to Bryant’s camera. It isn’t the filmmaker’s fault that she was unable to obtain interviews with Ghislaine Maxwell or the other women who (allegedly) charmingly procured underage girls for Epstein over a period of at least 20 years. But the documentary can’t accurately be described as an investigation in the absence of that testimony, or any other new information. (Nor is it sullied by the stuff of exploitation—hokey reenactments, cheap-shot filler and a thumping soundtrack.)\u003c/p>\n\u003cfigure id=\"attachment_13881130\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Maria Farmer in ‘Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is, on one level, a necessary and welcome piece of historical journalism that collects in one place, via interviews with a chief of police, journalists and survivors’ attorneys, the chain of events that led to Epstein’s long-running evasion of justice. Florida law enforcement and newspaper reporters did ace work, only to be sabotaged by a U.S. attorney whose presumed corruption still needs to be plumbed. \u003c/p>\n\u003cp>Frankly, this is all beside the point. The raison d’être of this documentary are the numerous wounded and brave accounts by young women. Their detailed descriptions of the horrific manipulation and exploitation they suffered, at the hands of a demented individual and his various assistants and abettors, comprise a catalog of evidence that is too monumental to discount, let alone disbelieve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its core, \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> is a handsomely illustrated talking-head documentary. It isn’t drama, and it certainly isn’t art. In this case, that’s just right.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actress Lori Loughlin and her husband Mossimo Giannulli, a fashion designer, have agreed to plead guilty in connection to the college admissions bribery scandal that federal investigators dubbed Operation Varsity Blues.\u003c/p>\n\u003cp>The U.S. Attorney’s Office of the District of Massachusetts made the \u003ca href=\"https://www.justice.gov/usao-ma/pr/california-couple-college-admissions-case-agrees-plead-guilty\">announcement Thursday\u003c/a>, saying Loughlin will plead guilty to one count of conspiracy to commit wire and mail fraud. \u003c/p>\n\u003cp>Her husband will plead guilty to one count of conspiracy to commit wire and mail fraud and honest services wire and mail fraud. \u003c/p>\n\u003cp>According to the recommendations of the plea agreement, Loughlin is facing two months in prison and a $150,000 fine. Her husband is facing five months in prison and a $250,000 fine. Ultimately, a federal judge will determine their sentences.\u003c/p>\n\u003cp>Both are scheduled to enter guilty pleas on Friday at 11:30 a.m. ET, \u003ca href=\"https://twitter.com/DMAnews1/status/1263459286065217536\">federal authorities said\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Under the plea agreements filed today, these defendants will serve prison terms reflecting their respective roles in a conspiracy to corrupt the college admissions process and which are consistent with prior sentences in this case,” Andrew Lelling, the U.S. Attorney for the District of Massachusetts, said in a statement. \u003c/p>\n\u003cp>“We will continue to pursue accountability for undermining the integrity of college admissions,” he added. \u003c/p>\n\u003cp>The couple originally \u003ca href=\"https://www.npr.org/2019/04/15/713524599/lori-loughlin-mossimo-giannulli-plead-not-guilty-in-college-cheating-scandal\">pleaded not guilty\u003c/a> in federal court in Boston in April 2019. \u003c/p>\n\u003cp>The couple was accused of paying a $500,000 bribe to secure their daughters’ admission to the University of Southern California as recruits for the university’s crew team. Neither of them had even practiced the sport.\u003c/p>\n\u003cp>Loughlin is best known for playing the role of Aunt Becky on the long-running sitcom \u003cem>Full House\u003c/em>. Giannulli’s Mossimo brand was a core clothing label at Target \u003ca href=\"https://www.latimes.com/business/la-fi-target-merona-mossimo-20170821-story.html\">until 2017\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Federal prosecutors say the couple joins 22 other parents who pleaded guilty in the college admissions scandal. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lori+Loughlin%2C+Mossimo+Giannulli+To+Plead+Guilty+In+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Lori Loughlin and her husband Mossimo Giannulli, a fashion designer, have agreed to plead guilty in connection to the college admissions bribery scandal that federal investigators dubbed Operation Varsity Blues.\u003c/p>\n\u003cp>The U.S. Attorney’s Office of the District of Massachusetts made the \u003ca href=\"https://www.justice.gov/usao-ma/pr/california-couple-college-admissions-case-agrees-plead-guilty\">announcement Thursday\u003c/a>, saying Loughlin will plead guilty to one count of conspiracy to commit wire and mail fraud. \u003c/p>\n\u003cp>Her husband will plead guilty to one count of conspiracy to commit wire and mail fraud and honest services wire and mail fraud. \u003c/p>\n\u003cp>According to the recommendations of the plea agreement, Loughlin is facing two months in prison and a $150,000 fine. Her husband is facing five months in prison and a $250,000 fine. Ultimately, a federal judge will determine their sentences.\u003c/p>\n\u003cp>Both are scheduled to enter guilty pleas on Friday at 11:30 a.m. ET, \u003ca href=\"https://twitter.com/DMAnews1/status/1263459286065217536\">federal authorities said\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Under the plea agreements filed today, these defendants will serve prison terms reflecting their respective roles in a conspiracy to corrupt the college admissions process and which are consistent with prior sentences in this case,” Andrew Lelling, the U.S. Attorney for the District of Massachusetts, said in a statement. \u003c/p>\n\u003cp>“We will continue to pursue accountability for undermining the integrity of college admissions,” he added. \u003c/p>\n\u003cp>The couple originally \u003ca href=\"https://www.npr.org/2019/04/15/713524599/lori-loughlin-mossimo-giannulli-plead-not-guilty-in-college-cheating-scandal\">pleaded not guilty\u003c/a> in federal court in Boston in April 2019. \u003c/p>\n\u003cp>The couple was accused of paying a $500,000 bribe to secure their daughters’ admission to the University of Southern California as recruits for the university’s crew team. Neither of them had even practiced the sport.\u003c/p>\n\u003cp>Loughlin is best known for playing the role of Aunt Becky on the long-running sitcom \u003cem>Full House\u003c/em>. Giannulli’s Mossimo brand was a core clothing label at Target \u003ca href=\"https://www.latimes.com/business/la-fi-target-merona-mossimo-20170821-story.html\">until 2017\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Federal prosecutors say the couple joins 22 other parents who pleaded guilty in the college admissions scandal. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lori+Loughlin%2C+Mossimo+Giannulli+To+Plead+Guilty+In+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! 9 Streaming Films To Sate Your Wanderlust",
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"content": "\u003cp>One of the great allures of the movies is the thrill of seeing faraway places, and entering lives that are to some degree unlike ours. It’s a selling point that hearkens to the early days of film, and the ultra-brief travelogues of distant locales that the Lumière brothers commissioned as the hook to hawk their groundbreaking moving-image cameras. (Same as it ever was: sell the hardware via the software.)\u003c/p>\n\u003cp>The impatience to venture further afield is natural, even palpable, after some two months of confinement and streaming of long-form television. Here are some foreign streams to dip your toes in, along with a few closer to home.\u003c/p>\n\u003cp>https://youtu.be/aFoeAg0bORk\u003c/p>\n\u003cp>\u003cb>New French Shorts 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://kinonow.com/new-french-shorts-lark-theater\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a> (now), \u003ca href=\"https://www.roxie.com/new-french-shorts-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> (May 22)\u003cbr>\nGenerally and simplistically speaking, U.S. filmmakers view short films as reel items to audition for feature films and episodic TV while Europeans see them as a distinct art form. (Much in the same way that short stories differ from novels.) This accomplished collection of short fiction opens with Foued Mansour’s \u003cem>Ahmed’s Song\u003c/em>, a no-fat, no-frills tale of an accidental mentor—a solitary, graying employee of a public bath whose family lives in an unnamed Arab country—and the wayward, would-be rapper assigned to work off his probation. Straightforward yet soulful, with a satisfying open ending.\u003c/p>\n\u003cp>https://youtu.be/UuyznqAILAM\u003c/p>\n\u003cp>\u003cb>\u003cem>Sátántangó\u003c/em>, 1994\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/satantango\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA from Home\u003c/a>\u003cbr>\nAt the other end of the spectrum, Béla Tarr’s slow-cinema magnum opus runs (or should I say walks) over seven hours. A grimly unsmiling yet (occasionally) darkly funny rendering of rural Hungarian malaise and ritual, \u003cem>Sátántangó\u003c/em> imagines a society—and a species—in dismal decline and primitive rebirth. To quote from Jason Sanders’ meaty program note, “Tarr’s mesmerizing recreation of an entire world, complete with all of this world’s poetry, despair, horror, and humor … makes it not so much a film as a place to visit, or stay.” Pack a lunch.\u003c/p>\n\u003cfigure id=\"attachment_13880650\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg\" alt=\"\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13880650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Helena Zengel in ‘System Crasher.’ \u003ccite>(Courtesy kineo Films and Weydemann Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>System Crasher\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81071573?\">Netflix\u003c/a>\u003cbr>\nNora Fengscheidt’s debut feature was the runaway winner at the recent German film awards with eight Lolas, including best feature, director and screenplay. Eleven-year-old Helena Zengel took home the best actress trophy for her ferocious portrayal of a screwed-up child (Benni) who charms social workers (and viewers) with the illusion that they’re making progress. Alas, Benni destroys more than illusions. (Fengscheidt’s forthcoming project, starring Sandra Bullock as a parolee adjusting to society, focuses on another of society’s outsiders.)\u003c/p>\n\u003cfigure id=\"attachment_13880651\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Terry Donahue and Pat Henschel in ‘A Secret Love.’ \u003ccite>(Courtesy Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>A Secret Love\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/80209024?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nCanadians Terry Donahue and Pat Henschel met in the late 1940s, a period that coincided with Donahue’s stellar career with the All-American Girls Professional Baseball League. Horsehide junkies will savor that chapter of Chris Bolan’s bracing documentary and wish it was longer. But he has more history to cover—the impossibility of coming out as a lesbian for most of the 20th century, most crucially—as well as the present-day, universal struggles of a no-nonsense Midwestern couple in their 80s. All in all, an incredible, moving love story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/252400055\u003c/p>\n\u003cp>\u003cb>\u003ci>Dykes, Camera, Action!\u003c/i>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://www.roxie.com/dykes-camera-action/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nCaroline Berler’s talking-heads doc, featuring everyone from Barbara Hammer to Su Friedrich to B. Ruby Rich, is an oral history of the formative years of queer cinema in New York and elsewhere as recounted by the pioneers themselves. Your ticket includes a pre-recorded panel discussion moderated by local filmmaker and maven Jenni Olson.\u003c/p>\n\u003cfigure id=\"attachment_13880653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Circus of Books.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Circus of Books\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81011569?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nThe queer grapevine has no doubt already spread the word about both \u003ci>A Secret Love\u003c/i> and Rachel Mason’s personal doc about the culturally important L.A. purveyor (and producer!) of hardcore gay pornography. The filmmaker’s parents got into the business through happenstance and ended up running it for three decades, keeping the scandalous secret from practically everyone, including their kids and Karen’s synagogue friends. \u003cem>Circus of Books\u003c/em> is never less than entertaining (Jeff Stryker and Larry Flynt make generous appearances) but it needs a jolt of high-stakes drama. The big-deal events—a Poppy Bush-era FBI bust, the AIDS pandemic and one of the Mason kids coming out—are in the past.\u003c/p>\n\u003cp>https://vimeo.com/374058151\u003c/p>\n\u003cp>\u003cb>\u003ci>5 Blocks\u003c/i>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/roxie-virtual-cinema-5-blocks-tickets-104338677794?\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nI’ve touted Dan Goldes’ years-in-the-making doc about the development of Mid-Market in this space on a previous occasion or two. If you haven’t caught up with it yet, it’s streaming via the Roxie’s virtual cinema for a few more days. \u003cem>5 Blocks\u003c/em> is a valuable asset at a time when we’re talking about how to make appropriate use of public spaces—and imagining what they will look like in six months or a year. \u003c/p>\n\u003cfigure id=\"attachment_13880655\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg\" alt=\"\" width=\"500\" height=\"333\" class=\"size-full wp-image-13880655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Still from Yuri Norstein’s ‘Tale of Tales,’ 1979. \u003ccite>(Courtesy of Kino Klassika)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Tale of Tales\u003c/em>, 1979\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kinoklassikafoundation.org/project/taleoftales/\">Kino Klassika Foundation\u003c/a>\u003cbr>\nI promised you journeys abroad, and here are a couple far off the beaten path. The Kino Klassika Foundation spotlights a wide range of Russian cinema, with a few different titles every week. Yuri Norstein’s half-hour masterpiece of animation, streaming May 19-26, contemplates the immediate and lasting effects of war on the civilian population and the overall society.\u003c/p>\n\u003cfigure id=\"attachment_13880656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stark-Fear.jpg\" alt=\"\" width=\"1200\" height=\"630\" class=\"size-full wp-image-13880656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Garland and Skip Homeier in ‘Stark Fear.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://www.bynwr.com\">BYNWR.com\u003c/a>\u003c/b>\u003cbr>\nDanish director Nicholas Winding Refn (\u003cem>Pusher\u003c/em>, \u003cem>Drive\u003c/em>, \u003cem>The Neon Demon\u003c/em>) is not my cup of bitters, but there’s no question he’s a fellow cinephile. He bills his website as “an unadulterated cultural expressway of the arts.” (Ah, but what’s a little redundancy among friends?) Poke around the various volumes of strange stuff lurking behind the portal, the hours will disappear and your nightmares will be the better for it. Or go straight to the current offering, \u003cem>\u003ca href=\"https://www.bynwr.com/articles/stark-fear-1962\" rel=\"noopener noreferrer\" target=\"_blank\">Stark Fear\u003c/a>\u003c/em> (1962), an obscure Oklahoma noir starring Beverly Garland that marks the lone directorial effort of one Ned Hockman. Good luck finding your way back.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the great allures of the movies is the thrill of seeing faraway places, and entering lives that are to some degree unlike ours. It’s a selling point that hearkens to the early days of film, and the ultra-brief travelogues of distant locales that the Lumière brothers commissioned as the hook to hawk their groundbreaking moving-image cameras. (Same as it ever was: sell the hardware via the software.)\u003c/p>\n\u003cp>The impatience to venture further afield is natural, even palpable, after some two months of confinement and streaming of long-form television. Here are some foreign streams to dip your toes in, along with a few closer to home.\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/aFoeAg0bORk'\n title='//www.youtube.com/embed/aFoeAg0bORk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>New French Shorts 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://kinonow.com/new-french-shorts-lark-theater\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a> (now), \u003ca href=\"https://www.roxie.com/new-french-shorts-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> (May 22)\u003cbr>\nGenerally and simplistically speaking, U.S. filmmakers view short films as reel items to audition for feature films and episodic TV while Europeans see them as a distinct art form. (Much in the same way that short stories differ from novels.) This accomplished collection of short fiction opens with Foued Mansour’s \u003cem>Ahmed’s Song\u003c/em>, a no-fat, no-frills tale of an accidental mentor—a solitary, graying employee of a public bath whose family lives in an unnamed Arab country—and the wayward, would-be rapper assigned to work off his probation. Straightforward yet soulful, with a satisfying open ending.\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/UuyznqAILAM'\n title='//www.youtube.com/embed/UuyznqAILAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Sátántangó\u003c/em>, 1994\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/satantango\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA from Home\u003c/a>\u003cbr>\nAt the other end of the spectrum, Béla Tarr’s slow-cinema magnum opus runs (or should I say walks) over seven hours. A grimly unsmiling yet (occasionally) darkly funny rendering of rural Hungarian malaise and ritual, \u003cem>Sátántangó\u003c/em> imagines a society—and a species—in dismal decline and primitive rebirth. To quote from Jason Sanders’ meaty program note, “Tarr’s mesmerizing recreation of an entire world, complete with all of this world’s poetry, despair, horror, and humor … makes it not so much a film as a place to visit, or stay.” Pack a lunch.\u003c/p>\n\u003cfigure id=\"attachment_13880650\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg\" alt=\"\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13880650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Helena Zengel in ‘System Crasher.’ \u003ccite>(Courtesy kineo Films and Weydemann Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>System Crasher\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81071573?\">Netflix\u003c/a>\u003cbr>\nNora Fengscheidt’s debut feature was the runaway winner at the recent German film awards with eight Lolas, including best feature, director and screenplay. Eleven-year-old Helena Zengel took home the best actress trophy for her ferocious portrayal of a screwed-up child (Benni) who charms social workers (and viewers) with the illusion that they’re making progress. Alas, Benni destroys more than illusions. (Fengscheidt’s forthcoming project, starring Sandra Bullock as a parolee adjusting to society, focuses on another of society’s outsiders.)\u003c/p>\n\u003cfigure id=\"attachment_13880651\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Terry Donahue and Pat Henschel in ‘A Secret Love.’ \u003ccite>(Courtesy Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>A Secret Love\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/80209024?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nCanadians Terry Donahue and Pat Henschel met in the late 1940s, a period that coincided with Donahue’s stellar career with the All-American Girls Professional Baseball League. Horsehide junkies will savor that chapter of Chris Bolan’s bracing documentary and wish it was longer. But he has more history to cover—the impossibility of coming out as a lesbian for most of the 20th century, most crucially—as well as the present-day, universal struggles of a no-nonsense Midwestern couple in their 80s. All in all, an incredible, moving love story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Dykes, Camera, Action!\u003c/i>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://www.roxie.com/dykes-camera-action/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nCaroline Berler’s talking-heads doc, featuring everyone from Barbara Hammer to Su Friedrich to B. Ruby Rich, is an oral history of the formative years of queer cinema in New York and elsewhere as recounted by the pioneers themselves. Your ticket includes a pre-recorded panel discussion moderated by local filmmaker and maven Jenni Olson.\u003c/p>\n\u003cfigure id=\"attachment_13880653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Circus of Books.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Circus of Books\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81011569?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nThe queer grapevine has no doubt already spread the word about both \u003ci>A Secret Love\u003c/i> and Rachel Mason’s personal doc about the culturally important L.A. purveyor (and producer!) of hardcore gay pornography. The filmmaker’s parents got into the business through happenstance and ended up running it for three decades, keeping the scandalous secret from practically everyone, including their kids and Karen’s synagogue friends. \u003cem>Circus of Books\u003c/em> is never less than entertaining (Jeff Stryker and Larry Flynt make generous appearances) but it needs a jolt of high-stakes drama. The big-deal events—a Poppy Bush-era FBI bust, the AIDS pandemic and one of the Mason kids coming out—are in the past.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>5 Blocks\u003c/i>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/roxie-virtual-cinema-5-blocks-tickets-104338677794?\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nI’ve touted Dan Goldes’ years-in-the-making doc about the development of Mid-Market in this space on a previous occasion or two. If you haven’t caught up with it yet, it’s streaming via the Roxie’s virtual cinema for a few more days. \u003cem>5 Blocks\u003c/em> is a valuable asset at a time when we’re talking about how to make appropriate use of public spaces—and imagining what they will look like in six months or a year. \u003c/p>\n\u003cfigure id=\"attachment_13880655\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg\" alt=\"\" width=\"500\" height=\"333\" class=\"size-full wp-image-13880655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Still from Yuri Norstein’s ‘Tale of Tales,’ 1979. \u003ccite>(Courtesy of Kino Klassika)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Tale of Tales\u003c/em>, 1979\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kinoklassikafoundation.org/project/taleoftales/\">Kino Klassika Foundation\u003c/a>\u003cbr>\nI promised you journeys abroad, and here are a couple far off the beaten path. The Kino Klassika Foundation spotlights a wide range of Russian cinema, with a few different titles every week. Yuri Norstein’s half-hour masterpiece of animation, streaming May 19-26, contemplates the immediate and lasting effects of war on the civilian population and the overall society.\u003c/p>\n\u003cfigure id=\"attachment_13880656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stark-Fear.jpg\" alt=\"\" width=\"1200\" height=\"630\" class=\"size-full wp-image-13880656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Garland and Skip Homeier in ‘Stark Fear.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://www.bynwr.com\">BYNWR.com\u003c/a>\u003c/b>\u003cbr>\nDanish director Nicholas Winding Refn (\u003cem>Pusher\u003c/em>, \u003cem>Drive\u003c/em>, \u003cem>The Neon Demon\u003c/em>) is not my cup of bitters, but there’s no question he’s a fellow cinephile. He bills his website as “an unadulterated cultural expressway of the arts.” (Ah, but what’s a little redundancy among friends?) Poke around the various volumes of strange stuff lurking behind the portal, the hours will disappear and your nightmares will be the better for it. Or go straight to the current offering, \u003cem>\u003ca href=\"https://www.bynwr.com/articles/stark-fear-1962\" rel=\"noopener noreferrer\" target=\"_blank\">Stark Fear\u003c/a>\u003c/em> (1962), an obscure Oklahoma noir starring Beverly Garland that marks the lone directorial effort of one Ned Hockman. Good luck finding your way back.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1960s Domestic Comedies (a.k.a. Horror Films)",
"headTitle": "Lockdown Movie Musts: 1960s Domestic Comedies (a.k.a. Horror Films) | KQED",
"content": "\u003cp>Welcome to week eight of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey! Look at that! Women used to be stuck inside \u003cem>permanently\u003c/em>!”\u003c/p>\n\u003cp>This week, we’re exploring domestic bliss, 1960s-style. We’ve got a marriage movie (1963’s \u003ca href=\"https://www.imdb.com/title/tt0057581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Thrill of it All\u003c/em>\u003c/a>), a divorce movie (1967’s \u003ca href=\"https://www.imdb.com/title/tt0061581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Divorce, American Style\u003c/em>\u003c/a>) and a movie about people who have absolutely no idea how to use contraception (\u003cem>\u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Yours, Mine and Ours\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>Let’s start with \u003cem>Divorce, American Style\u003c/em>. A caper that exists solely to spread the message that unhappily married people should stay that way, on the grounds that it’s normal to hate your spouse.\u003c/p>\n\u003cp>Allow me to elaborate.\u003c/p>\n\u003cp>Barbara (Debbie Reynolds) and Richard Harmon (Dick Van Dyke) are a couple that have drifted apart. Barbara blames this on Richard’s inability to share his feelings. I would attribute it to his tendency to smash plates and yell about being “a house boy” every time he’s asked to move a plate to the kitchen. (\u003cem>Jesus, 1960s men!\u003c/em>)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sick of bickering, the two decide to divorce. Before the decree absolute comes through, they both start serious relationships with the first humans of the opposite sex they happen to stumble across. (Not so smart, these two.) Most of the film is filled with gross exaggerations about how much men suffer because of alimony payments, and how complicated it is to date divorcees, what with all their previous spouses and children.\u003c/p>\n\u003cp>Naturally, the two eventually get back together. (\u003cem>Groan\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VYvZpikpljg\u003c/p>\n\u003cp>Here’s what the reconciliation sounds like:\u003c/p>\n\u003cp>\u003cstrong>Richard:\u003c/strong> “The problem is, marriage is work and nobody wants to work.”\u003cbr>\n\u003cstrong>Barbara\u003c/strong>: “The real problem is that line between the sexes. Women are crossing it so much today, it’s being erased… Why resent being the supplier when that’s why you’re in demand in the first place?”\u003c/p>\n\u003cp>The \u003cem>romance\u003c/em>, amirite?!\u003c/p>\n\u003cp>\u003cem>Divorce, American Style\u003c/em>, however, is a dreamscape compared to Doris Day and James Garner hellride, \u003cem>The Thrill of it All\u003c/em>. This is a movie that straight-faced answers the question: “What would happen if \u003ca href=\"https://en.wikipedia.org/wiki/Phyllis_Schlafly\" target=\"_blank\" rel=\"noopener noreferrer\">Phyllis Schlafly\u003c/a> was married to \u003ca href=\"https://en.wikipedia.org/wiki/Norman_Bates\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Bates\u003c/a> but we wanted to make that seem like a \u003cem>good\u003c/em> thing?”\u003c/p>\n\u003cp>Prepare to momentarily stop breathing as I tell you the plot to this “romantic” “comedy.”\u003c/p>\n\u003cp>Beverly Boyer (Doris Day) is the happy housewife of an obstetrician named Gerald (James Garner). Beverly is perfectly presented at all times, to the point that she wears coral lipstick and false eyelashes to bed. Beverly and Gerald have somehow managed to conceive two children despite sleeping in twin beds with a table wedged between them. One day, Beverly accidentally lands herself a job as a spokesperson for Happy Soap (by talking about her bratty kids at a dinner party, naturally). Her husband subsequently spends weeks throwing tantrums, withholding affection, gaslighting and eventually pretending to have an affair until she gives up her job to come back to the kitchen.\u003c/p>\n\u003cp>What a great guy.\u003c/p>\n\u003cp>The happy ending of \u003cem>The Thrill of It All\u003c/em> is a woman giving up a part-time job that pays about half a million dollars a year in 2020 money. Because she’s married to a psychotic man-baby. And, according to this, she apparently likes it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40KqQt6j5_c&t=4s\u003c/p>\n\u003cp>Did I mention this is supposed to be a romantic comedy?\u003c/p>\n\u003cp>Here’s a “hilarious” snippet of an argument that breaks out when Beverly wants to work:\u003c/p>\n\u003cp>\u003cstrong>Gerald:\u003c/strong> “You have your outside interests and hobbies! You have the PTA and you make your own ketchup! You’ve always said being a doctor’s wife was career enough!”\u003cbr>\n\u003cstrong>Beverly \u003c/strong>\u003cem>(rushing over to reassure him)\u003c/em>\u003cstrong>:\u003c/strong> “You know that I would never consciously go out looking for a job, don’t you? But to have something like this just land in my lap. Honey, honey… It’s only once a week and I won’t let anything interfere with my wifely duties, I promise.”\u003c/p>\n\u003cp>\u003cem>… I just … \u003c/em>\u003c/p>\n\u003cp>In a similar argument later, Beverly shouts “What happened to my rights as a woman?” And Gerald retorts, “They grew and grew until they suffocated my rights as a man!”\u003c/p>\n\u003cp>\u003cem>… cannot with these people …\u003c/em>\u003c/p>\n\u003cp>The following are some other examples of what passes for “romance” and “comedy” in \u003cem>The Thrill of it All\u003c/em>.\u003c/p>\n\u003cp>When Gerald complains that Beverly is at the studio too much, she brings the TV cameras to film at their house—so he loses his mind over that too. When she leaves the children with a nanny to go to a work party, he wakes the nanny up, scares her to the point of her quitting, then blames Beverly. When her employers generously build Beverly a swimming pool in the back yard, Gerald fills it with Happy Soap and destroys half the neighborhood. When Beverly is asked for her autograph at a restaurant, Gerald grabs her arm and drags her out the door.\u003c/p>\n\u003cp>\u003cem>Anyone else feeling hot under the collar from all this sexy, sexy content yet?!\u003c/em>\u003c/p>\n\u003cp>For good measure, there’s also some Marilyn Monroe bullying, a hearty dose of pitting women against each other, and three separate scenes that include the line, “I guess there’s nothing more fulfilling in life than having a baby.”\u003c/p>\n\u003cp>So, yes. \u003cem>The Thrill of It All\u003c/em> is a horror movie.\u003c/p>\n\u003cp>Which brings us to our third pick, 1968’s \u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yours, Mine and Ours\u003c/em>\u003c/a>. I expected to hate this comedy for making light of rampant child production—newlyweds Helen and Frank have 18 children between them. But (\u003cem>gasp\u003c/em>) it’s actually funny! Despite being \u003ca href=\"https://www.goodreads.com/book/show/795370.Who_Gets_the_Drumstick_\" target=\"_blank\" rel=\"noopener noreferrer\">based on a true story\u003c/a>! (But try not to think about that part…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hq9Q-0e9mBM\u003c/p>\n\u003cp>Sure, there’s a fat-shaming incident, some draft board normalization (like anybody needed that in ’68) and a scene in which someone says, “The navy, like a woman, has a way of changing its mind.” But all the bad stuff is crammed into the last 30 minutes. The first 90 are a quite a delight. That’s largely thanks to the charm, charisma and comedy chops of both Lucille Ball and Henry Fonda—but honestly, even the kids are good in this thing.\u003c/p>\n\u003cp>But in the end, all three of these movies will, in all likelihood, leave you feeling better about your own domestic situation, even during the additional stresses of sheltering in place. But \u003cem>Yours, Mine and Ours\u003c/em> is the only one that comes with wonderful footage of 1960s San Francisco and Alameda. I’d advise you to start there.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This week's mental escape from shelter-in-place? Watching the nightmare of life as a 1960s housewife.",
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"description": "This week's mental escape from shelter-in-place? Watching the nightmare of life as a 1960s housewife.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week eight of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey! Look at that! Women used to be stuck inside \u003cem>permanently\u003c/em>!”\u003c/p>\n\u003cp>This week, we’re exploring domestic bliss, 1960s-style. We’ve got a marriage movie (1963’s \u003ca href=\"https://www.imdb.com/title/tt0057581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Thrill of it All\u003c/em>\u003c/a>), a divorce movie (1967’s \u003ca href=\"https://www.imdb.com/title/tt0061581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Divorce, American Style\u003c/em>\u003c/a>) and a movie about people who have absolutely no idea how to use contraception (\u003cem>\u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Yours, Mine and Ours\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>Let’s start with \u003cem>Divorce, American Style\u003c/em>. A caper that exists solely to spread the message that unhappily married people should stay that way, on the grounds that it’s normal to hate your spouse.\u003c/p>\n\u003cp>Allow me to elaborate.\u003c/p>\n\u003cp>Barbara (Debbie Reynolds) and Richard Harmon (Dick Van Dyke) are a couple that have drifted apart. Barbara blames this on Richard’s inability to share his feelings. I would attribute it to his tendency to smash plates and yell about being “a house boy” every time he’s asked to move a plate to the kitchen. (\u003cem>Jesus, 1960s men!\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sick of bickering, the two decide to divorce. Before the decree absolute comes through, they both start serious relationships with the first humans of the opposite sex they happen to stumble across. (Not so smart, these two.) Most of the film is filled with gross exaggerations about how much men suffer because of alimony payments, and how complicated it is to date divorcees, what with all their previous spouses and children.\u003c/p>\n\u003cp>Naturally, the two eventually get back together. (\u003cem>Groan\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VYvZpikpljg'\n title='//www.youtube.com/embed/VYvZpikpljg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s what the reconciliation sounds like:\u003c/p>\n\u003cp>\u003cstrong>Richard:\u003c/strong> “The problem is, marriage is work and nobody wants to work.”\u003cbr>\n\u003cstrong>Barbara\u003c/strong>: “The real problem is that line between the sexes. Women are crossing it so much today, it’s being erased… Why resent being the supplier when that’s why you’re in demand in the first place?”\u003c/p>\n\u003cp>The \u003cem>romance\u003c/em>, amirite?!\u003c/p>\n\u003cp>\u003cem>Divorce, American Style\u003c/em>, however, is a dreamscape compared to Doris Day and James Garner hellride, \u003cem>The Thrill of it All\u003c/em>. This is a movie that straight-faced answers the question: “What would happen if \u003ca href=\"https://en.wikipedia.org/wiki/Phyllis_Schlafly\" target=\"_blank\" rel=\"noopener noreferrer\">Phyllis Schlafly\u003c/a> was married to \u003ca href=\"https://en.wikipedia.org/wiki/Norman_Bates\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Bates\u003c/a> but we wanted to make that seem like a \u003cem>good\u003c/em> thing?”\u003c/p>\n\u003cp>Prepare to momentarily stop breathing as I tell you the plot to this “romantic” “comedy.”\u003c/p>\n\u003cp>Beverly Boyer (Doris Day) is the happy housewife of an obstetrician named Gerald (James Garner). Beverly is perfectly presented at all times, to the point that she wears coral lipstick and false eyelashes to bed. Beverly and Gerald have somehow managed to conceive two children despite sleeping in twin beds with a table wedged between them. One day, Beverly accidentally lands herself a job as a spokesperson for Happy Soap (by talking about her bratty kids at a dinner party, naturally). Her husband subsequently spends weeks throwing tantrums, withholding affection, gaslighting and eventually pretending to have an affair until she gives up her job to come back to the kitchen.\u003c/p>\n\u003cp>What a great guy.\u003c/p>\n\u003cp>The happy ending of \u003cem>The Thrill of It All\u003c/em> is a woman giving up a part-time job that pays about half a million dollars a year in 2020 money. Because she’s married to a psychotic man-baby. And, according to this, she apparently likes it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/40KqQt6j5_c'\n title='//www.youtube.com/embed/40KqQt6j5_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did I mention this is supposed to be a romantic comedy?\u003c/p>\n\u003cp>Here’s a “hilarious” snippet of an argument that breaks out when Beverly wants to work:\u003c/p>\n\u003cp>\u003cstrong>Gerald:\u003c/strong> “You have your outside interests and hobbies! You have the PTA and you make your own ketchup! You’ve always said being a doctor’s wife was career enough!”\u003cbr>\n\u003cstrong>Beverly \u003c/strong>\u003cem>(rushing over to reassure him)\u003c/em>\u003cstrong>:\u003c/strong> “You know that I would never consciously go out looking for a job, don’t you? But to have something like this just land in my lap. Honey, honey… It’s only once a week and I won’t let anything interfere with my wifely duties, I promise.”\u003c/p>\n\u003cp>\u003cem>… I just … \u003c/em>\u003c/p>\n\u003cp>In a similar argument later, Beverly shouts “What happened to my rights as a woman?” And Gerald retorts, “They grew and grew until they suffocated my rights as a man!”\u003c/p>\n\u003cp>\u003cem>… cannot with these people …\u003c/em>\u003c/p>\n\u003cp>The following are some other examples of what passes for “romance” and “comedy” in \u003cem>The Thrill of it All\u003c/em>.\u003c/p>\n\u003cp>When Gerald complains that Beverly is at the studio too much, she brings the TV cameras to film at their house—so he loses his mind over that too. When she leaves the children with a nanny to go to a work party, he wakes the nanny up, scares her to the point of her quitting, then blames Beverly. When her employers generously build Beverly a swimming pool in the back yard, Gerald fills it with Happy Soap and destroys half the neighborhood. When Beverly is asked for her autograph at a restaurant, Gerald grabs her arm and drags her out the door.\u003c/p>\n\u003cp>\u003cem>Anyone else feeling hot under the collar from all this sexy, sexy content yet?!\u003c/em>\u003c/p>\n\u003cp>For good measure, there’s also some Marilyn Monroe bullying, a hearty dose of pitting women against each other, and three separate scenes that include the line, “I guess there’s nothing more fulfilling in life than having a baby.”\u003c/p>\n\u003cp>So, yes. \u003cem>The Thrill of It All\u003c/em> is a horror movie.\u003c/p>\n\u003cp>Which brings us to our third pick, 1968’s \u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yours, Mine and Ours\u003c/em>\u003c/a>. I expected to hate this comedy for making light of rampant child production—newlyweds Helen and Frank have 18 children between them. But (\u003cem>gasp\u003c/em>) it’s actually funny! Despite being \u003ca href=\"https://www.goodreads.com/book/show/795370.Who_Gets_the_Drumstick_\" target=\"_blank\" rel=\"noopener noreferrer\">based on a true story\u003c/a>! (But try not to think about that part…)\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/Hq9Q-0e9mBM'\n title='//www.youtube.com/embed/Hq9Q-0e9mBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sure, there’s a fat-shaming incident, some draft board normalization (like anybody needed that in ’68) and a scene in which someone says, “The navy, like a woman, has a way of changing its mind.” But all the bad stuff is crammed into the last 30 minutes. The first 90 are a quite a delight. That’s largely thanks to the charm, charisma and comedy chops of both Lucille Ball and Henry Fonda—but honestly, even the kids are good in this thing.\u003c/p>\n\u003cp>But in the end, all three of these movies will, in all likelihood, leave you feeling better about your own domestic situation, even during the additional stresses of sheltering in place. But \u003cem>Yours, Mine and Ours\u003c/em> is the only one that comes with wonderful footage of 1960s San Francisco and Alameda. I’d advise you to start there.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "its-still-raining-game-in-northern-california",
"title": "It's Still Raining Game in Northern California",
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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>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/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>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\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\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\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\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\n\u003cp>https://youtu.be/e1U-t277yXE\u003c/p>\n\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\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\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\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\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n",
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"excerpt": "A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.",
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"title": "It's Still Raining Game in Northern California | KQED",
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"headline": "It's Still Raining Game in Northern California",
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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>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/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>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\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\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\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/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\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/e1U-t277yXE'\n title='//www.youtube.com/embed/e1U-t277yXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\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\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\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\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2",
"headTitle": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2 | KQED",
"content": "\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The ’60s-informed documentary speaks more to start-up fans, libertarians and techies than to Summer of Love survivors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lockdown Movie Musts: 1960s Creature Features (...But Made By British People)",
"headTitle": "Lockdown Movie Musts: 1960s Creature Features (…But Made By British People) | KQED",
"content": "\u003cp>Welcome to week seven of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least a 3,000-year-old dude isn’t trying to make out with me right now.”\u003c/p>\n\u003cp>This week, we’re crawling through caves, humping in dungeons and howling at the moon with 1960s creature features! … Only they’re all super low-budget and uncomfortably British, on account of my childhood being both of those things.\u003c/p>\n\u003cp>That’s right! I have reached that point in shelter-in-place where I’ve started revisiting Childhood Things in order to feel better. And unfortunately for you, I spent a sizable portion of my first decade on the planet watching “Hammer Horrors”—schlocky creature features made by \u003ca href=\"https://en.wikipedia.org/wiki/Hammer_Film_Productions\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Film Productions\u003c/a> in ’50s, ’60s and ’70s England. Come along for the ride, won’t you? It’s very bumpy and includes some terrible sound effects. Just like the BART tunnel between Embarcadero and West Oakland. (In case the absence of regularly experiencing that is a void you need filling.)\u003c/p>\n\u003cp>Given the time and the place, we might as well start with the movie with the worst bat PR: 1960’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0053677/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">The Brides of Dracula\u003c/a>.\u003c/em> At its core, this movie is essentially a manual detailing the worst possible decisions you could ever make as a lone female traveler.\u003c/p>\n\u003cp>Here are some of the ones that our “heroine” Marianne makes:\u003c/p>\n\u003col>\n\u003cli>Accepting the offer of free room and board from a mysterious old lady who lives in a castle and looks like \u003ca href=\"https://futurama.fandom.com/wiki/Carol_Miller\" target=\"_blank\" rel=\"noopener noreferrer\">“Mom” from \u003cem>Futurama\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Assisting the escape of an imprisoned maniac from the castle, on the grounds that he’s a bit of a hottie.\u003c/li>\n\u003cli>Leaving her worldly belongings behind at the castle, while she goes off to her new teaching job at the local girls’ school. (Don’t you need clean underwear, Marianne?)\u003c/li>\n\u003cli>Agreeing to marry the maniac after 10 minutes of knowing him, even though both “Mom” and a babe from the local village die within 24 hours of him getting out. (Change your underwear, Marianne!)\u003c/li>\n\u003cli>Never ever taking any responsibility at all for indirectly causing the deaths of at least three people. (Maybe you don’t deserve clean underwear, Marianne!)\u003c/li>\n\u003c/ol>\n\u003cp>Don’t get me started on Peter Cushing’s Van Helsing, a vampire-hunter who stops chasing vampires the second old ladies stand in the way, or women faint in the vicinity. A “hero” who tells sick women he’s a doctor, despite having zero medical qualifications. A guy who desperately needs a crucifix to do his job, but never carries a spare. (You’ve got, like, eight pockets bro!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LR8CaOgSSuc\u003c/p>\n\u003cp>Best we move swiftly on to 1961’s \u003ca href=\"https://www.imdb.com/title/tt0054777/?ref_=nv_sr_srsg_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Werewolf\u003c/em>\u003c/a>. A movie that answers that age-old question: What happens if a “beggar” who’s been in prison for 15 years rapes a mute woman who then gives birth to the resulting infant on Christmas Day? The answer of course is that the child turns into a werewolf who can only be cured by the love of a good woman. (Talk about emotional labor, ladies!)\u003c/p>\n\u003cp>For some reason, \u003cem>The Curse of the Werewolf\u003c/em> is based in Spain. We know this because all of the very English actors in it are called things like “Pepe” and “Rico” and everyone says the word “señor” a lot. Also, when they go to bars, there is a fair amount of flamenco dancing involved. And you just don’t see that in many pubs in London, so \u003cem>sure\u003c/em>. Spain it is!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3oRjMACFhs8\u003c/p>\n\u003cp>You might be surprised to find out then, that \u003cem>The Curse of the Werewolf\u003c/em> lets Spain off easy compared to the variety of nations flagrantly stereotyped in 1964’s \u003ca href=\"https://www.imdb.com/title/tt0057986/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Mummy’s Tomb\u003c/em>\u003c/a>. This is a film in which French women are unfaithful hussies, the English working classes all call everyone “Guv’na!” and Americans are money-grabbing loudmouths who talk about “sarsaparilla” and (oh, dear God) “cotton pickin’.”\u003c/p>\n\u003cp>Worst of all, 99% of the Middle Eastern characters in this film are played by white dudes and—I cannot complain about this enough—\u003cem>some of them are wearing bronzer\u003c/em>. In case the brownface isn’t enough to convince you that this movie is racist, two of the four black people who appear here play \u003cem>statues\u003c/em>. Actual, guarding-a-tomb, supposed-to-be-marble, statues.\u003c/p>\n\u003cp>So yeah, \u003cem>The Curse of the Mummy’s Tomb\u003c/em> is even more problematic than all of \u003ca href=\"https://metro.co.uk/2019/09/05/scarlett-johanssons-new-role-hollywoods-problematic-woman-10691922/\" target=\"_blank\" rel=\"noopener noreferrer\">Scarlett Johansson’s 2019 interviews\u003c/a> combined—and that is saying \u003cem>a lot\u003c/em>. No one comes out of this thing looking good, but as a vehicle for forgetting about the pandemic and yelling at your TV? Highly effective.\u003c/p>\n\u003cp>Here are some other things in\u003cem> The Curse of the Mummy’s Tomb \u003c/em>that are worthy of a “WTF?”:\u003c/p>\n\u003cul>\n\u003cli>Superficial stab wounds that cause instant death.\u003c/li>\n\u003cli>Hands that can be cut off in one swift motion using teeny-tiny daggers.\u003c/li>\n\u003cli>Ancient artifacts that are built out of Styrofoam and/or papier mâché.\u003c/li>\n\u003cli>The fact that the mummy is bulletproof.\u003c/li>\n\u003cli>The fact that the mummy can be immediately stopped if you dangle the right necklace—or lady!—in front of him.\u003c/li>\n\u003cli>The fact that the mummy has a penchant for destroying really nice window dressings. (Rude!)\u003c/li>\n\u003cli>The fact that any time anyone says anything dramatic, the whole cast stops and does what Joey from \u003cem>Friends\u003c/em> once memorably called “\u003ca href=\"https://www.youtube.com/watch?v=8c4YhwpiaKU\" target=\"_blank\" rel=\"noopener noreferrer\">Smell the fart acting\u003c/a>.”\u003c/li>\n\u003c/ul>\n\u003cp>https://www.youtube.com/watch?v=J6kv3TDc0-s\u003c/p>\n\u003cp>Even 6-year-old me knew these movies were incredibly silly, but I had not realized how much unintentional comedy gold was in them until now. So until next week, stay safer than all of the idiots in these movies, and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This week's mental escape from shelter-in-place comes via a wolfman, a 3,000-year-old mitten-wearing monster, and some Dracula-lovin' ladies. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week seven of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least a 3,000-year-old dude isn’t trying to make out with me right now.”\u003c/p>\n\u003cp>This week, we’re crawling through caves, humping in dungeons and howling at the moon with 1960s creature features! … Only they’re all super low-budget and uncomfortably British, on account of my childhood being both of those things.\u003c/p>\n\u003cp>That’s right! I have reached that point in shelter-in-place where I’ve started revisiting Childhood Things in order to feel better. And unfortunately for you, I spent a sizable portion of my first decade on the planet watching “Hammer Horrors”—schlocky creature features made by \u003ca href=\"https://en.wikipedia.org/wiki/Hammer_Film_Productions\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Film Productions\u003c/a> in ’50s, ’60s and ’70s England. Come along for the ride, won’t you? It’s very bumpy and includes some terrible sound effects. Just like the BART tunnel between Embarcadero and West Oakland. (In case the absence of regularly experiencing that is a void you need filling.)\u003c/p>\n\u003cp>Given the time and the place, we might as well start with the movie with the worst bat PR: 1960’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0053677/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">The Brides of Dracula\u003c/a>.\u003c/em> At its core, this movie is essentially a manual detailing the worst possible decisions you could ever make as a lone female traveler.\u003c/p>\n\u003cp>Here are some of the ones that our “heroine” Marianne makes:\u003c/p>\n\u003col>\n\u003cli>Accepting the offer of free room and board from a mysterious old lady who lives in a castle and looks like \u003ca href=\"https://futurama.fandom.com/wiki/Carol_Miller\" target=\"_blank\" rel=\"noopener noreferrer\">“Mom” from \u003cem>Futurama\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Assisting the escape of an imprisoned maniac from the castle, on the grounds that he’s a bit of a hottie.\u003c/li>\n\u003cli>Leaving her worldly belongings behind at the castle, while she goes off to her new teaching job at the local girls’ school. (Don’t you need clean underwear, Marianne?)\u003c/li>\n\u003cli>Agreeing to marry the maniac after 10 minutes of knowing him, even though both “Mom” and a babe from the local village die within 24 hours of him getting out. (Change your underwear, Marianne!)\u003c/li>\n\u003cli>Never ever taking any responsibility at all for indirectly causing the deaths of at least three people. (Maybe you don’t deserve clean underwear, Marianne!)\u003c/li>\n\u003c/ol>\n\u003cp>Don’t get me started on Peter Cushing’s Van Helsing, a vampire-hunter who stops chasing vampires the second old ladies stand in the way, or women faint in the vicinity. A “hero” who tells sick women he’s a doctor, despite having zero medical qualifications. A guy who desperately needs a crucifix to do his job, but never carries a spare. (You’ve got, like, eight pockets bro!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LR8CaOgSSuc'\n title='//www.youtube.com/embed/LR8CaOgSSuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Best we move swiftly on to 1961’s \u003ca href=\"https://www.imdb.com/title/tt0054777/?ref_=nv_sr_srsg_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Werewolf\u003c/em>\u003c/a>. A movie that answers that age-old question: What happens if a “beggar” who’s been in prison for 15 years rapes a mute woman who then gives birth to the resulting infant on Christmas Day? The answer of course is that the child turns into a werewolf who can only be cured by the love of a good woman. (Talk about emotional labor, ladies!)\u003c/p>\n\u003cp>For some reason, \u003cem>The Curse of the Werewolf\u003c/em> is based in Spain. We know this because all of the very English actors in it are called things like “Pepe” and “Rico” and everyone says the word “señor” a lot. Also, when they go to bars, there is a fair amount of flamenco dancing involved. And you just don’t see that in many pubs in London, so \u003cem>sure\u003c/em>. Spain it is!\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/3oRjMACFhs8'\n title='//www.youtube.com/embed/3oRjMACFhs8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might be surprised to find out then, that \u003cem>The Curse of the Werewolf\u003c/em> lets Spain off easy compared to the variety of nations flagrantly stereotyped in 1964’s \u003ca href=\"https://www.imdb.com/title/tt0057986/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Mummy’s Tomb\u003c/em>\u003c/a>. This is a film in which French women are unfaithful hussies, the English working classes all call everyone “Guv’na!” and Americans are money-grabbing loudmouths who talk about “sarsaparilla” and (oh, dear God) “cotton pickin’.”\u003c/p>\n\u003cp>Worst of all, 99% of the Middle Eastern characters in this film are played by white dudes and—I cannot complain about this enough—\u003cem>some of them are wearing bronzer\u003c/em>. In case the brownface isn’t enough to convince you that this movie is racist, two of the four black people who appear here play \u003cem>statues\u003c/em>. Actual, guarding-a-tomb, supposed-to-be-marble, statues.\u003c/p>\n\u003cp>So yeah, \u003cem>The Curse of the Mummy’s Tomb\u003c/em> is even more problematic than all of \u003ca href=\"https://metro.co.uk/2019/09/05/scarlett-johanssons-new-role-hollywoods-problematic-woman-10691922/\" target=\"_blank\" rel=\"noopener noreferrer\">Scarlett Johansson’s 2019 interviews\u003c/a> combined—and that is saying \u003cem>a lot\u003c/em>. No one comes out of this thing looking good, but as a vehicle for forgetting about the pandemic and yelling at your TV? Highly effective.\u003c/p>\n\u003cp>Here are some other things in\u003cem> The Curse of the Mummy’s Tomb \u003c/em>that are worthy of a “WTF?”:\u003c/p>\n\u003cul>\n\u003cli>Superficial stab wounds that cause instant death.\u003c/li>\n\u003cli>Hands that can be cut off in one swift motion using teeny-tiny daggers.\u003c/li>\n\u003cli>Ancient artifacts that are built out of Styrofoam and/or papier mâché.\u003c/li>\n\u003cli>The fact that the mummy is bulletproof.\u003c/li>\n\u003cli>The fact that the mummy can be immediately stopped if you dangle the right necklace—or lady!—in front of him.\u003c/li>\n\u003cli>The fact that the mummy has a penchant for destroying really nice window dressings. (Rude!)\u003c/li>\n\u003cli>The fact that any time anyone says anything dramatic, the whole cast stops and does what Joey from \u003cem>Friends\u003c/em> once memorably called “\u003ca href=\"https://www.youtube.com/watch?v=8c4YhwpiaKU\" target=\"_blank\" rel=\"noopener noreferrer\">Smell the fart acting\u003c/a>.”\u003c/li>\n\u003c/ul>\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/J6kv3TDc0-s'\n title='//www.youtube.com/embed/J6kv3TDc0-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even 6-year-old me knew these movies were incredibly silly, but I had not realized how much unintentional comedy gold was in them until now. So until next week, stay safer than all of the idiots in these movies, and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hooray, You Can Go to the Movies Again—at a Drive-In Theater",
"headTitle": "Hooray, You Can Go to the Movies Again—at a Drive-In Theater | KQED",
"content": "\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets are $8.25 general admission / $1.75 for kids age 5–11. (No smuggling your friends in the trunk, now!) \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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