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"content": "\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\n\u003cp>https://youtu.be/dDSq2fF9flk\u003c/p>\n\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\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/dDSq2fF9flk'\n title='//www.youtube.com/embed/dDSq2fF9flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When August and Louis Lumière unveiled their (and the world’s) first motion pictures to a private, invitation-only audience in Paris in 1895, Alice Guy was there. The 22-year-old secretary attended with her boss, Léon Gaumont, a mere ten years older and the head of a camera-equipment company (backed in part by engineer and scientist Gustave Eiffel). Over the next year, while handling the firm’s correspondence and her other duties, Guy set about mastering the technology and operation of the newfangled movie cameras.\u003c/p>\n\u003cp>Envisioning an entire mode of motion pictures beyond “actualities”—the Lumières’ bite-sized portraits of the real world—Guy wrote, produced and directed the first narrative film, \u003ci>The Cabbage Fairy\u003c/i>, in 1896. (Talk about your early adopters.) That was just the beginning: Guy made countless movies in the next decade (from a 23-episode depiction of the Christ saga to gender role-reversal comedies) while she devised and ran Gaumont’s film production arm. She oversaw hundreds of films before moving to the U.S. with her English husband and, eventually, founding a studio in Ft. Lee, New Jersey.\u003c/p>\n\u003cfigure id=\"attachment_13860123\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg\" alt=\"Alice Guy-Blaché (on camera platform behind camera tripod) on the set of 'The Life of Christ in Fontainebleau,' France, in 1906.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13860123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Alice Guy-Blaché (on camera platform behind camera tripod) on the set of ‘The Life of Christ in Fontainebleau,’ France, in 1906. \u003ccite>(Courtesy of Collection Société Française de Photographie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only part of now-married Alice Guy-Blaché’s saga that isn’t astounding is how she was omitted from the early histories of French cinema, which credited \u003ci>The Cabbage Fairy\u003c/i> to some actor. She devoted the latter decades of her life (with limited success) to correcting the record and tracking down prints of her films, and penning her memoirs (which were rejected by publisher after publisher).\u003c/p>\n\u003cp>Now comes Pamela B. Green, an Angeleno whose globe-hopping dedication to restoring Guy-Blaché’s legacy and introducing her work to current generations of U.S. filmmakers (women and men) is palpable in every fascinating frame of \u003ci>Be Natural: The Untold Story of Alice Guy-Blaché\u003c/i>. (The title comes from the visionary filmmaker’s primary direction to her actors, a modernist maxim emblazoned on signs posted around the studio.)\u003c/p>\n\u003cp>The French may not appreciate the irony of a New World filmmaker reviving an Old World icon, but they fumbled their claim years ago. \u003ci>Be Natural\u003c/i> is an essential contribution to both film scholarship and the movie-lovers canon, a rapid-fire work that is by turns hugely fun and deeply infuriating, transparently feminist and avowedly non-dogmatic.\u003c/p>\n\u003cp>\u003ci>Be Natural\u003c/i> screens June 25 and 26 at the Smith Rafael Film Center in San Rafael and June 24–26 at the Roxie in San Francisco.\u003c/p>\n\u003cp>https://youtu.be/bPUJRtrp_EE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When August and Louis Lumière unveiled their (and the world’s) first motion pictures to a private, invitation-only audience in Paris in 1895, Alice Guy was there. The 22-year-old secretary attended with her boss, Léon Gaumont, a mere ten years older and the head of a camera-equipment company (backed in part by engineer and scientist Gustave Eiffel). Over the next year, while handling the firm’s correspondence and her other duties, Guy set about mastering the technology and operation of the newfangled movie cameras.\u003c/p>\n\u003cp>Envisioning an entire mode of motion pictures beyond “actualities”—the Lumières’ bite-sized portraits of the real world—Guy wrote, produced and directed the first narrative film, \u003ci>The Cabbage Fairy\u003c/i>, in 1896. (Talk about your early adopters.) That was just the beginning: Guy made countless movies in the next decade (from a 23-episode depiction of the Christ saga to gender role-reversal comedies) while she devised and ran Gaumont’s film production arm. She oversaw hundreds of films before moving to the U.S. with her English husband and, eventually, founding a studio in Ft. Lee, New Jersey.\u003c/p>\n\u003cfigure id=\"attachment_13860123\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg\" alt=\"Alice Guy-Blaché (on camera platform behind camera tripod) on the set of 'The Life of Christ in Fontainebleau,' France, in 1906.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13860123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Alice Guy-Blaché (on camera platform behind camera tripod) on the set of ‘The Life of Christ in Fontainebleau,’ France, in 1906. \u003ccite>(Courtesy of Collection Société Française de Photographie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only part of now-married Alice Guy-Blaché’s saga that isn’t astounding is how she was omitted from the early histories of French cinema, which credited \u003ci>The Cabbage Fairy\u003c/i> to some actor. She devoted the latter decades of her life (with limited success) to correcting the record and tracking down prints of her films, and penning her memoirs (which were rejected by publisher after publisher).\u003c/p>\n\u003cp>Now comes Pamela B. Green, an Angeleno whose globe-hopping dedication to restoring Guy-Blaché’s legacy and introducing her work to current generations of U.S. filmmakers (women and men) is palpable in every fascinating frame of \u003ci>Be Natural: The Untold Story of Alice Guy-Blaché\u003c/i>. (The title comes from the visionary filmmaker’s primary direction to her actors, a modernist maxim emblazoned on signs posted around the studio.)\u003c/p>\n\u003cp>The French may not appreciate the irony of a New World filmmaker reviving an Old World icon, but they fumbled their claim years ago. \u003ci>Be Natural\u003c/i> is an essential contribution to both film scholarship and the movie-lovers canon, a rapid-fire work that is by turns hugely fun and deeply infuriating, transparently feminist and avowedly non-dogmatic.\u003c/p>\n\u003cp>\u003ci>Be Natural\u003c/i> screens June 25 and 26 at the Smith Rafael Film Center in San Rafael and June 24–26 at the Roxie in San Francisco.\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/bPUJRtrp_EE'\n title='//www.youtube.com/embed/bPUJRtrp_EE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Now in its second iteration, \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hecho en Mexico\u003c/em>\u003c/a> brings six nonfiction highlights to San Francisco after a banner year for Mexican cinema. Screening June 14–17, the collaboration between \u003cem>\u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más \u003c/a>\u003c/em> and \u003ca href=\"http://www.roxie.com/roxcine/\" target=\"_blank\" rel=\"noopener\">RoxCine\u003c/a> offers a rare opportunity to see award-winning documentaries on the big screen and meet their creators.\u003c/p>\n\u003cp>[aside postID='arts_13858037']\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\u003c/p>\n\u003cp>https://youtu.be/OZfAlqFoWHY\u003c/p>\n\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\n\u003cp>https://vimeo.com/292638670\u003c/p>\n\u003cp>\u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">Hecho en Mexico\u003c/a>\u003cem> is presented by \u003ca href=\"http://www.roxie.com/roxcine/\">RoxCine\u003c/a> with support from \u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más San Francisco Latino Film Festival\u003c/a>, \u003ca href=\"https://www.podersf.org/\">P\u003c/a>\u003ca href=\"https://www.podersf.org/\">ODER SF \u003c/a>and the General Consulate of Mexico in San Francisco. More information on the screenings and Q&As can be found \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>[aside postID='arts_13858037' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elton+John+Biopic+%27Rocketman%27+Is+A+Surprising+Song-And-Dance+Spectacular&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Billie Holiday’s lilting version of the romantic ballad \u003cem>Stars Fell on Alabama\u003c/em> slips in under the end credits of \u003cem>Hale County This Morning, This Evening\u003c/em>, it seems an odd choice. How does a mid-20th-century icon of dissolute urban coolness relate to off-the-grid black lives in the present-day rural South? In just a few seconds, though, the viewer conjures a slew of associations: the Alabama connection; the themes of ephemeral longing and eternal loss; and, inevitably, Billie’s rendition of the lynching lament \u003cem>Strange Fruit\u003c/em>.\u003c/p>\n\u003cp>By this point, RaMell Ross’s gorgeously impressionistic documentary has spent 70-odd minutes encouraging us to find our own meanings. \u003cem>Hale County This Morning, This Evening\u003c/em> (beginning Friday, Nov. 23 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/hale-county-this-morning-this-evening/?instance_id=\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, with Ross and executive producer Danny Glover in the house after the opening night show) is a vaguely longitudinal saga of two young men, a determined college basketball player and a less motivated father, filmed in the years after the photographer-cum-filmmaker moved to Alabama. But its heart beats closer to experimental filmmaking than to dramatic narrative or social-issue exposé. Ross’s real subjects are the nature of time and the illusion of movement: Reality is sped up and slowed down via time-lapse photography and long takes, while all activity seems grounded (fixed in place, that is) by a thick air of stasis.\u003c/p>\n\u003cfigure id=\"attachment_13845232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/7_1200-1200x675.jpg\" alt=\"Science class from 'Hale County This Morning, This Evening.'\" width=\"640\" height=\"360\" class=\"size-complete_open_graph wp-image-13845232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Science class from ‘Hale County This Morning, This Evening.’ \u003ccite>(IDIOM Film; courtesy RaMell Ross & Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em> does embody a political point of view in that it wants us to see black people through a prism that upends the usual framing. The athlete, Daniel, isn’t a naïve hoop dreamer, while Quincy, the easygoing father, isn’t on his way to jail or deadbeat dad-dom. Nonetheless, “What is the orbit of our dreaming?” is the film’s initial onscreen question (and erstwhile chapter heading), foregrounding the modesty of Daniel, Quincy and everyone else’s aspirations and opportunities.\u003c/p>\n\u003cp>One doesn’t take away a philosophy from \u003cem>Hale County\u003c/em> so much as memories of cryptic, haunting images. Sunlight refracting through the smoke of a burning tire, a little girl relentlessly running back and forth while her oblivious father watches TV, a nocturnal amateur bluesman in a red coat and hat delivering the raw essence. And a patient, perfectly composed shot looking up through a basketball rim at the crystalline nighttime sky, as if waiting for stars to miraculously drop through the basket onto us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Billie Holiday’s lilting version of the romantic ballad \u003cem>Stars Fell on Alabama\u003c/em> slips in under the end credits of \u003cem>Hale County This Morning, This Evening\u003c/em>, it seems an odd choice. How does a mid-20th-century icon of dissolute urban coolness relate to off-the-grid black lives in the present-day rural South? In just a few seconds, though, the viewer conjures a slew of associations: the Alabama connection; the themes of ephemeral longing and eternal loss; and, inevitably, Billie’s rendition of the lynching lament \u003cem>Strange Fruit\u003c/em>.\u003c/p>\n\u003cp>By this point, RaMell Ross’s gorgeously impressionistic documentary has spent 70-odd minutes encouraging us to find our own meanings. \u003cem>Hale County This Morning, This Evening\u003c/em> (beginning Friday, Nov. 23 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/hale-county-this-morning-this-evening/?instance_id=\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, with Ross and executive producer Danny Glover in the house after the opening night show) is a vaguely longitudinal saga of two young men, a determined college basketball player and a less motivated father, filmed in the years after the photographer-cum-filmmaker moved to Alabama. But its heart beats closer to experimental filmmaking than to dramatic narrative or social-issue exposé. Ross’s real subjects are the nature of time and the illusion of movement: Reality is sped up and slowed down via time-lapse photography and long takes, while all activity seems grounded (fixed in place, that is) by a thick air of stasis.\u003c/p>\n\u003cfigure id=\"attachment_13845232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/7_1200-1200x675.jpg\" alt=\"Science class from 'Hale County This Morning, This Evening.'\" width=\"640\" height=\"360\" class=\"size-complete_open_graph wp-image-13845232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Science class from ‘Hale County This Morning, This Evening.’ \u003ccite>(IDIOM Film; courtesy RaMell Ross & Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em> does embody a political point of view in that it wants us to see black people through a prism that upends the usual framing. The athlete, Daniel, isn’t a naïve hoop dreamer, while Quincy, the easygoing father, isn’t on his way to jail or deadbeat dad-dom. Nonetheless, “What is the orbit of our dreaming?” is the film’s initial onscreen question (and erstwhile chapter heading), foregrounding the modesty of Daniel, Quincy and everyone else’s aspirations and opportunities.\u003c/p>\n\u003cp>One doesn’t take away a philosophy from \u003cem>Hale County\u003c/em> so much as memories of cryptic, haunting images. Sunlight refracting through the smoke of a burning tire, a little girl relentlessly running back and forth while her oblivious father watches TV, a nocturnal amateur bluesman in a red coat and hat delivering the raw essence. And a patient, perfectly composed shot looking up through a basketball rim at the crystalline nighttime sky, as if waiting for stars to miraculously drop through the basket onto us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\u003c/p>\n\u003cp>https://youtu.be/FhwktRDG_aQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) 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Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "West Oakland's Musical Legacy Still Something to Crow About",
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"content": "\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Rough Stories Behind the Tender Souls",
"headTitle": "The Rough Stories Behind the Tender Souls | KQED",
"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\">T\u003c/span>here’s a scene in Brenton Gieser’s documentary film \u003cem>\u003ca href=\"https://vimeo.com/238410662\" target=\"_blank\" rel=\"noopener noreferrer\">Tender Souls\u003c/a>\u003c/em> in which a young girl named Emily walks down the street, with her mother at her side, as she celebrates her third birthday.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The duo ventures through San Francisco’s notoriously rough Tenderloin neighborhood, holding colorful celebratory bags, toward a crowd of people posted on a corner. The crowd gives warning the little girl is coming. Not so they can cue up a sing-along to “Happy Birthday” (although one man does eventually sing to her), but to make sure that all the drugs are put away and the corner is a kid-friendly environment — if only for a moment.\u003c/p>\n\u003cp>This scene is symbolic of the film as a whole. It shows kindness in the middle of this “rough” community. It shows people taking time to understand and respect the presence of this little girl. And most importantly, it shows the significance of understanding someone’s life story, even if only for a few moments on their third birthday.\u003c/p>\n\u003cfigure id=\"attachment_13823206\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CoreyJackson.jpg\" alt=\"Corey Jackson in the documentary 'Tender Souls.'\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Corey Jackson in the documentary ‘Tender Souls.’ \u003ccite>(Brenton Gieser)\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>ociety has developed a number of ways to assist people living in “rough” neighborhoods, in the margins of society, in the shadows of Silicon Valley and on the streets of San Francisco. There are outreach and intake programs, mental health offices and drug addiction clinics, halfway houses and houses of the lord.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are short-term remedies: In Oakland, there are people \u003ca href=\"http://sanfrancisco.cbslocal.com/2017/11/29/oakland-tuff-sheds-homeless/\" target=\"_blank\" rel=\"noopener noreferrer\">living in Tuff Sheds\u003c/a>. In San Jose, people are \u003ca href=\"https://ww2.kqed.org/news/2017/07/19/on-peninsula-and-in-south-bay-rvs-have-become-symbol-of-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">living in RVs and trailers\u003c/a>. In San Diego, hundreds of people are \u003ca href=\"http://www.sandiegouniontribune.com/news/homelessness/sd-me-tent-opening-20171130-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">living in one big-ass tent\u003c/a>.\u003c/p>\n\u003caside class=\"pullquote alignright\">It makes absolutely no sense why the disparity in wealth is so geographically close.\u003c/aside>\n\u003cp>There are legislators, both on a local and statewide level, who seem to care. But last week, during his State of the State speech, Governor Jerry Brown failed to mention rising homelessness in California, completely avoiding one of the biggest issues in the state. That same week, Leilani Farha, the United Nations’ special rapporteur on the right to housing, visited Oakland and San Francisco. She was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/01/21/united-nations-expert-describes-oakland-and-californias-homeless-crisis-as-cruel\" target=\"_blank\" rel=\"noopener noreferrer\">appalled at the way people were living\u003c/a>.\u003c/p>\n\u003cp>To her credit, Farha didn’t just drive by and shake her head at the shantytown-like compounds of tents and other makeshift structures, cropping up with increasing regularity in the Bay Area. Instead, she spoke to the people living in them, and got an understanding of their stories.\u003c/p>\n\u003cp>And that’s what \u003cem>Tender Souls\u003c/em> does: seeks understanding in order to puts these stories in context.\u003c/p>\n\u003cfigure id=\"attachment_13823211\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/unnamed-1.jpg\" alt=\"Brenton Gieser, director of 'Tender Souls.'\" width=\"478\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1-375x489.jpg 375w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Brenton Gieser, director of ‘Tender Souls.’ \u003ccite>(Courtesy Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaker and photographer Brenton Gieser uses the analogy of a funnel to describe the process of addressing the needs of those living in poor housing situations. “The movement toward change starts with stories,” Gieser says. He believes that understanding the background of someone’s life story is imperative to assisting them. “And then, you get more narrow, where the actual change happens.”\u003c/p>\n\u003cp>He knows that it’s not just a matter of hearing someone’s story and then, \u003cem>voilà!\u003c/em>, problem solved. “I think soulful change is a multifaceted thing,” says Gieser. “It can’t just be ‘hey, make a nice film’ and that’s it. ”\u003c/p>\n\u003cp>Gieser, 32, has been working as a documentarian in the Tenderloin for two and a half years. He’s also behind the \u003ca href=\"https://www.tendersoulsproject.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Tender Souls photo project\u003c/a> with collaborator Felix Uribe, and has represented the younger generation on a special committee at Glide Memorial Church.\u003c/p>\n\u003cp>With the help of \u003ca href=\"https://www.citychurchsf.org/City-Hope-Home\" target=\"_blank\" rel=\"noopener noreferrer\">City Hope\u003c/a> as executive producers, Gieser and his team made \u003cem>Tender Souls\u003c/em> on a shoestring budget, shot it just over a week, and although he’s had multiple screenings and has accumulated \u003ca href=\"https://vimeo.com/238410662\" target=\"_blank\" rel=\"noopener noreferrer\">over 35,000 views on Vimeo\u003c/a>, he has made no money off the film.\u003c/p>\n\u003cp>And yet through making “a nice film,” he has the chance to reach audiences who might have the resources to assist — you know, the people who just drive/bus/rideshare past the shantytown-like villages under freeway overpasses on their way to their well-paying jobs.\u003c/p>\n\u003cfigure id=\"attachment_13823208\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CurtisBradford.jpg\" alt=\"Curtis Bradford in the documentary 'Tender Souls,' about life on the margins in the Tenderloin.\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Curtis Bradford in the documentary ‘Tender Souls,’ about life on the margins in the Tenderloin. \u003ccite>(Brenton Gieser)\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\">A\u003c/span> person could stand in the heart of the Tenderloin and throw a crack rock to the doorstep of some of the wealthiest businesses in the world. It makes absolutely no sense why the disparity in wealth is so geographically close. Gieser wants to change that. “With tech being the pervasive culture, we’re seeing the polarization of different cultures between the haves and have nots. It’s important to capture the attention of the people who \u003cem>aren’t\u003c/em> walking through the Tenderloin.”\u003c/p>\n\u003cp>Gieser is just one of the many individuals and organizations who do this work. In San Francisco, \u003ca href=\"https://www.glide.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Glide Memorial\u003c/a> has been a cornerstone for eons. On my side of the Bay, in Oakland, the work of organizations such as \u003ca href=\"https://www.facebook.com/The-Village-in-Oakland-feedthepeople-731643677003021/?fref=mentions&pnref=story.unseen-section\" target=\"_blank\" rel=\"noopener noreferrer\">The Village\u003c/a> in Oakland, the \u003ca href=\"https://www.facebook.com/groups/eastoakcollective/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> and the \u003ca href=\"https://shadowproof.com/2017/09/12/inspired-black-panthers-peoples-breakfast-oakland-helps-neglected-government/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a> is more than necessary. As Gieser said, it’s going to take a multifaceted effort. It’s going to take legislation and healthcare. It’s going to take organized religion and random individuals. And it’s going to take understanding and compassion.\u003c/p>\n\u003cfigure id=\"attachment_13823210\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_.jpg\" alt=\"Tiffany McClendon and daughter Emily in the documentary 'Tender Souls.'\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany McClendon and daughter Emily in the documentary ‘Tender Souls.’ \u003ccite>(Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before all that, at the wider end of the funnel, Gieser remains a firm believer that the power of empathy can alter the situation. To that end, he’ll continue to screen his film and work in the neighborhood.\u003c/p>\n\u003cp>“Stories have the power to not only educate,” he says, “but to open hearts, and to break hearts.”\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>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In Brenton Gieser's documentary of life in the Tenderloin, the human spirit persists against rising inequity in the Bay Area.",
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"description": "In Brenton Gieser's documentary of life in the Tenderloin, the human spirit persists against rising inequity in the Bay Area.",
"title": "The Rough Stories Behind the Tender Souls | KQED",
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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\">T\u003c/span>here’s a scene in Brenton Gieser’s documentary film \u003cem>\u003ca href=\"https://vimeo.com/238410662\" target=\"_blank\" rel=\"noopener noreferrer\">Tender Souls\u003c/a>\u003c/em> in which a young girl named Emily walks down the street, with her mother at her side, as she celebrates her third birthday.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The duo ventures through San Francisco’s notoriously rough Tenderloin neighborhood, holding colorful celebratory bags, toward a crowd of people posted on a corner. The crowd gives warning the little girl is coming. Not so they can cue up a sing-along to “Happy Birthday” (although one man does eventually sing to her), but to make sure that all the drugs are put away and the corner is a kid-friendly environment — if only for a moment.\u003c/p>\n\u003cp>This scene is symbolic of the film as a whole. It shows kindness in the middle of this “rough” community. It shows people taking time to understand and respect the presence of this little girl. And most importantly, it shows the significance of understanding someone’s life story, even if only for a few moments on their third birthday.\u003c/p>\n\u003cfigure id=\"attachment_13823206\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CoreyJackson.jpg\" alt=\"Corey Jackson in the documentary 'Tender Souls.'\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CoreyJackson-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Corey Jackson in the documentary ‘Tender Souls.’ \u003ccite>(Brenton Gieser)\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>ociety has developed a number of ways to assist people living in “rough” neighborhoods, in the margins of society, in the shadows of Silicon Valley and on the streets of San Francisco. There are outreach and intake programs, mental health offices and drug addiction clinics, halfway houses and houses of the lord.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are short-term remedies: In Oakland, there are people \u003ca href=\"http://sanfrancisco.cbslocal.com/2017/11/29/oakland-tuff-sheds-homeless/\" target=\"_blank\" rel=\"noopener noreferrer\">living in Tuff Sheds\u003c/a>. In San Jose, people are \u003ca href=\"https://ww2.kqed.org/news/2017/07/19/on-peninsula-and-in-south-bay-rvs-have-become-symbol-of-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">living in RVs and trailers\u003c/a>. In San Diego, hundreds of people are \u003ca href=\"http://www.sandiegouniontribune.com/news/homelessness/sd-me-tent-opening-20171130-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">living in one big-ass tent\u003c/a>.\u003c/p>\n\u003caside class=\"pullquote alignright\">It makes absolutely no sense why the disparity in wealth is so geographically close.\u003c/aside>\n\u003cp>There are legislators, both on a local and statewide level, who seem to care. But last week, during his State of the State speech, Governor Jerry Brown failed to mention rising homelessness in California, completely avoiding one of the biggest issues in the state. That same week, Leilani Farha, the United Nations’ special rapporteur on the right to housing, visited Oakland and San Francisco. She was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/01/21/united-nations-expert-describes-oakland-and-californias-homeless-crisis-as-cruel\" target=\"_blank\" rel=\"noopener noreferrer\">appalled at the way people were living\u003c/a>.\u003c/p>\n\u003cp>To her credit, Farha didn’t just drive by and shake her head at the shantytown-like compounds of tents and other makeshift structures, cropping up with increasing regularity in the Bay Area. Instead, she spoke to the people living in them, and got an understanding of their stories.\u003c/p>\n\u003cp>And that’s what \u003cem>Tender Souls\u003c/em> does: seeks understanding in order to puts these stories in context.\u003c/p>\n\u003cfigure id=\"attachment_13823211\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/unnamed-1.jpg\" alt=\"Brenton Gieser, director of 'Tender Souls.'\" width=\"478\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/unnamed-1-375x489.jpg 375w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Brenton Gieser, director of ‘Tender Souls.’ \u003ccite>(Courtesy Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaker and photographer Brenton Gieser uses the analogy of a funnel to describe the process of addressing the needs of those living in poor housing situations. “The movement toward change starts with stories,” Gieser says. He believes that understanding the background of someone’s life story is imperative to assisting them. “And then, you get more narrow, where the actual change happens.”\u003c/p>\n\u003cp>He knows that it’s not just a matter of hearing someone’s story and then, \u003cem>voilà!\u003c/em>, problem solved. “I think soulful change is a multifaceted thing,” says Gieser. “It can’t just be ‘hey, make a nice film’ and that’s it. ”\u003c/p>\n\u003cp>Gieser, 32, has been working as a documentarian in the Tenderloin for two and a half years. He’s also behind the \u003ca href=\"https://www.tendersoulsproject.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Tender Souls photo project\u003c/a> with collaborator Felix Uribe, and has represented the younger generation on a special committee at Glide Memorial Church.\u003c/p>\n\u003cp>With the help of \u003ca href=\"https://www.citychurchsf.org/City-Hope-Home\" target=\"_blank\" rel=\"noopener noreferrer\">City Hope\u003c/a> as executive producers, Gieser and his team made \u003cem>Tender Souls\u003c/em> on a shoestring budget, shot it just over a week, and although he’s had multiple screenings and has accumulated \u003ca href=\"https://vimeo.com/238410662\" target=\"_blank\" rel=\"noopener noreferrer\">over 35,000 views on Vimeo\u003c/a>, he has made no money off the film.\u003c/p>\n\u003cp>And yet through making “a nice film,” he has the chance to reach audiences who might have the resources to assist — you know, the people who just drive/bus/rideshare past the shantytown-like villages under freeway overpasses on their way to their well-paying jobs.\u003c/p>\n\u003cfigure id=\"attachment_13823208\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CurtisBradford.jpg\" alt=\"Curtis Bradford in the documentary 'Tender Souls,' about life on the margins in the Tenderloin.\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CurtisBradford-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Curtis Bradford in the documentary ‘Tender Souls,’ about life on the margins in the Tenderloin. \u003ccite>(Brenton Gieser)\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\">A\u003c/span> person could stand in the heart of the Tenderloin and throw a crack rock to the doorstep of some of the wealthiest businesses in the world. It makes absolutely no sense why the disparity in wealth is so geographically close. Gieser wants to change that. “With tech being the pervasive culture, we’re seeing the polarization of different cultures between the haves and have nots. It’s important to capture the attention of the people who \u003cem>aren’t\u003c/em> walking through the Tenderloin.”\u003c/p>\n\u003cp>Gieser is just one of the many individuals and organizations who do this work. In San Francisco, \u003ca href=\"https://www.glide.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Glide Memorial\u003c/a> has been a cornerstone for eons. On my side of the Bay, in Oakland, the work of organizations such as \u003ca href=\"https://www.facebook.com/The-Village-in-Oakland-feedthepeople-731643677003021/?fref=mentions&pnref=story.unseen-section\" target=\"_blank\" rel=\"noopener noreferrer\">The Village\u003c/a> in Oakland, the \u003ca href=\"https://www.facebook.com/groups/eastoakcollective/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> and the \u003ca href=\"https://shadowproof.com/2017/09/12/inspired-black-panthers-peoples-breakfast-oakland-helps-neglected-government/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a> is more than necessary. As Gieser said, it’s going to take a multifaceted effort. It’s going to take legislation and healthcare. It’s going to take organized religion and random individuals. And it’s going to take understanding and compassion.\u003c/p>\n\u003cfigure id=\"attachment_13823210\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_.jpg\" alt=\"Tiffany McClendon and daughter Emily in the documentary 'Tender Souls.'\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Tiffeny.Emily_.Embed_-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany McClendon and daughter Emily in the documentary ‘Tender Souls.’ \u003ccite>(Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before all that, at the wider end of the funnel, Gieser remains a firm believer that the power of empathy can alter the situation. To that end, he’ll continue to screen his film and work in the neighborhood.\u003c/p>\n\u003cp>“Stories have the power to not only educate,” he says, “but to open hearts, and to break hearts.”\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>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Film Examines the Struggling, Post-Ghost Ship Underground Scene",
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"content": "\u003cp>The new documentary \u003cem>Underground Under Review\u003c/em> is a “film about D.I.Y. spaces with a D.I.Y. approach.” \u003c/p>\n\u003cp>“Most of it was just me and a camera,” says Zack Bateman, an East Bay musician who is also the film’s director. \u003c/p>\n\u003cp>Bateman says that he felt compelled to the make the documentary in the wake of the December 2016 Ghost Ship fire, which claimed the lives of 36 partygoers at an underground concert in Oakland. Though Oakland Mayor Libby Schaaf issued an executive order for city officials to work cooperatively with landlords to bring other artist live-work spaces up to code, many landlords \u003ca href=\"http://www.mercurynews.com/2017/03/23/residents-in-salt-lick-warehouse-in-oakland-are-getting-evicted/\" rel=\"noopener\" target=\"_blank\">moved to evict\u003c/a> the tenants of similar makeshift warehouses, leaving artists to scramble for affordable housing in a costly market. \u003c/p>\n\u003cp>As I reported in my \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> cover story\u003c/a>, the Bay Area housing crisis was already squeezing out underground venues and live-work spaces prior to Ghost Ship. And in the aftermath of the tragedy, the D.I.Y. scenes these spaces fostered are being pushed further underground in fear of persecution. \u003c/p>\n\u003cp>https://youtu.be/6iIOn6dogKQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Underground Under Review\u003c/em>, which \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">screens on Oct. 13\u003c/a> at the Uptown Night Club in Oakland, Bateman speaks to a variety of countercultural artists and musicians, emerging with a portrait of an artistic community recovering from tragedy. Among those interviewed are veteran punk Jello Biafra; Sarah Sexton of the record label Oakland Indie Mayhem; Mykee Ramen, the owner of the now-shuttered Richmond D.I.Y. hub \u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/burnt-ramen-supporters-protest-venues-eviction-at-richmond-council-meeting/\" rel=\"noopener\" target=\"_blank\">Burnt Ramen\u003c/a>; and Jamie DeWolf, founder of the popular variety show Tourettes Without Regrets. \u003c/p>\n\u003cp>Many of the people in the film were already struggling to stay afloat as low-income artists when they lost friends in the Ghost Ship fire. According to Bateman, \u003cem>Underground Under Review\u003c/em> “shows people coming together to speak their voice and essentially speak for Oakland or the Bay Area scene in general. It [shows] that there’s people out there that give a shit and wanna help. Most of the interviews this film is compiled of, a lot of people say the same thing, which is, ‘Get involved the community, get involved in your scene and with whatever politics are going on in your area.'”\u003c/p>\n\u003cp>Bateman says he hopes the documentary can shed some light on the importance of preserving Oakland’s — and the greater Bay Area’s — vibrant artistic culture through arts advocacy and affordable housing. The reason why artists live in unsafe warehouses like Ghost Ship, he says, is because they often don’t have other options, but D.I.Y. spaces are also drivers of creativity that thrives outside of mainstream clubs and arts institutions.\u003c/p>\n\u003cp>“The reputation the Bay Area has of being this crazy, weird, artistic, creative place — in my opinion, that’s because of places like this,” Bateman says. “You can go down an alleyway and open the door and you’re in this crazy, cool place you never thought existed in the warehouse district. Not only is it a thing that’s cool to have, I think it’s also important because these places help artists hone their craft and be able to afford living.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Underground Under Review’ screens at Uptown Night Club in Oakland on Friday, Oct. 13 at 8pm. For more information \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new documentary \u003cem>Underground Under Review\u003c/em> is a “film about D.I.Y. spaces with a D.I.Y. approach.” \u003c/p>\n\u003cp>“Most of it was just me and a camera,” says Zack Bateman, an East Bay musician who is also the film’s director. \u003c/p>\n\u003cp>Bateman says that he felt compelled to the make the documentary in the wake of the December 2016 Ghost Ship fire, which claimed the lives of 36 partygoers at an underground concert in Oakland. Though Oakland Mayor Libby Schaaf issued an executive order for city officials to work cooperatively with landlords to bring other artist live-work spaces up to code, many landlords \u003ca href=\"http://www.mercurynews.com/2017/03/23/residents-in-salt-lick-warehouse-in-oakland-are-getting-evicted/\" rel=\"noopener\" target=\"_blank\">moved to evict\u003c/a> the tenants of similar makeshift warehouses, leaving artists to scramble for affordable housing in a costly market. \u003c/p>\n\u003cp>As I reported in my \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> cover story\u003c/a>, the Bay Area housing crisis was already squeezing out underground venues and live-work spaces prior to Ghost Ship. And in the aftermath of the tragedy, the D.I.Y. scenes these spaces fostered are being pushed further underground in fear of persecution. \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/6iIOn6dogKQ'\n title='//www.youtube.com/embed/6iIOn6dogKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Underground Under Review\u003c/em>, which \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">screens on Oct. 13\u003c/a> at the Uptown Night Club in Oakland, Bateman speaks to a variety of countercultural artists and musicians, emerging with a portrait of an artistic community recovering from tragedy. Among those interviewed are veteran punk Jello Biafra; Sarah Sexton of the record label Oakland Indie Mayhem; Mykee Ramen, the owner of the now-shuttered Richmond D.I.Y. hub \u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/burnt-ramen-supporters-protest-venues-eviction-at-richmond-council-meeting/\" rel=\"noopener\" target=\"_blank\">Burnt Ramen\u003c/a>; and Jamie DeWolf, founder of the popular variety show Tourettes Without Regrets. \u003c/p>\n\u003cp>Many of the people in the film were already struggling to stay afloat as low-income artists when they lost friends in the Ghost Ship fire. According to Bateman, \u003cem>Underground Under Review\u003c/em> “shows people coming together to speak their voice and essentially speak for Oakland or the Bay Area scene in general. It [shows] that there’s people out there that give a shit and wanna help. Most of the interviews this film is compiled of, a lot of people say the same thing, which is, ‘Get involved the community, get involved in your scene and with whatever politics are going on in your area.'”\u003c/p>\n\u003cp>Bateman says he hopes the documentary can shed some light on the importance of preserving Oakland’s — and the greater Bay Area’s — vibrant artistic culture through arts advocacy and affordable housing. The reason why artists live in unsafe warehouses like Ghost Ship, he says, is because they often don’t have other options, but D.I.Y. spaces are also drivers of creativity that thrives outside of mainstream clubs and arts institutions.\u003c/p>\n\u003cp>“The reputation the Bay Area has of being this crazy, weird, artistic, creative place — in my opinion, that’s because of places like this,” Bateman says. “You can go down an alleyway and open the door and you’re in this crazy, cool place you never thought existed in the warehouse district. Not only is it a thing that’s cool to have, I think it’s also important because these places help artists hone their craft and be able to afford living.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Underground Under Review’ screens at Uptown Night Club in Oakland on Friday, Oct. 13 at 8pm. For more information \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nick Cave is Spiritually Adrift in the Stirring 'One More Time with Feeling'",
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"content": "\u003cp>An early scene in the new film \u003cem>One More Time with Feeling\u003c/em> finds the songwriter and Bad Seeds bandleader Nick Cave, a lyricist fixated on tales of calamity and redemption, discarding a cornerstone of his career. “I don’t believe in narrative anymore,” he says, gazing out a car window. “I just don’t believe that’s what life is like.”\u003c/p>\n\u003cp>If Cave seems adrift and beset by spiritual crisis, it’s due to the tragic death of his 15-year-old son, who fell from a cliff near the family home in Brighton, England last summer. The incident, though hardly referred to explicitly, stalks every moment of the movie. Cave scoffs, in one scene, at empty “platitudes,” especially the ones dispensed by acquaintances like Hallmark cards, including himself in this indictment as well. “Everything I’m saying,” he says, “is bullshit.”\u003c/p>\n\u003cp>A stirring, gorgeously composed movie about splintering under the weight of grief,\u003cem> One More Time with Feeling\u003c/em> depicts Cave at home and in the studio recording the Bad Seeds’ 16th album, \u003cem>The Skeleton Tree\u003c/em>. The hybrid narrative and documentary film, which premiered in theaters Sept. 8, was directed by Andrew Dominik, who’s worked closely with the songwriter before: Cave and key collaborator Warren Ellis composed a soundtrack for Dominik’s 2007 western, \u003cem>The Assassination of Jesse James by the Coward Robert Ford.\u003c/em>\u003c/p>\n\u003cp>There’s palpable intimacy — Cave, once a famously combative interviewee, smiles naturally enough to undermine years of dour branding — but there are also references to the cameraman and other such nods to documentary contrivance. The 2014 film \u003cem>20,000 Days on Earth\u003c/em>, which ostensibly chronicled Cave writing and recording the Bad Seeds’ last album, similarly combined documentary tropes and screenwriting, though to significantly more misdirecting effect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=svru1jNLIK8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the camera lingers on Cave staring at a piano, the artist voices over his internal dialog, expressing frustration that the chords to a song seem to have escaped him. After his wife brandishes a childhood painting by their late son of the fateful cliffs, Cave recites a poem with the refrain, \u003cem>There’s more paradise in hell than we’ve been told\u003c/em>. That Cave’s fictions sometimes seem prophetic is a potent theme.\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling\u003c/em> is partly a performance film. Black-and-white cinematography renders the studio-cum-venue in vivid tones, lit neither too starkly nor ethereally, and the camera floats about really rather freely. The band plays almost all of \u003cem>The Skeleton Tree\u003c/em>, a spare album composed of piano patter, accentual strings, and Ellis’ rippling electronic effects. But with the intensity of little more than a murmuring thrum, it envelops.\u003c/p>\n\u003cp>It’s telling that at one point in the movie Cave and his band mates mention disagreeing about where exactly the turnaround beat rests in a song. \u003cem>The Skeleton Tree\u003c/em> is one of most of amorphous albums in the Bad Seeds’ catalog, unmoored from the ballad structures and plodding grooves that underpin so much of the group’s material.\u003c/p>\n\u003cp>And Cave actually improvises many passages on the record. He’s less composed than usual. They’re not densely literary songs. At least, not compared to something like \u003cem>Push the Sky Away\u003c/em>’s oblique interrogation of faith and science, “Higgs Boson Blues.” And yet his wavering intonation of simple, direct phrases such as “Nothing really matters,” or “They told us our gods would outlive us / But they lied” resonates instead with its vulnerability.\u003c/p>\n\u003cp>It’s a departure from the image, cultivated throughout Cave’s career, of the scholar in pop culture exile, the lyrical tactician who reproduces excerpts from his notebook for fans. But his relationship to words, which he once feared and revered, as a moving segment of \u003cem>One More Time with Feeling\u003c/em> illustrates, is broken. Writers often turn personal experience into material. “But this kind of trauma,” he says, “it was extremely damaging to the creative process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling runs in limited encore screenings at the Roxie Theater in SF from Sept. 9 – 11. \u003ca href=\"http://www.roxie.com/ai1ec_event/one-more-time-with-feeling/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An early scene in the new film \u003cem>One More Time with Feeling\u003c/em> finds the songwriter and Bad Seeds bandleader Nick Cave, a lyricist fixated on tales of calamity and redemption, discarding a cornerstone of his career. “I don’t believe in narrative anymore,” he says, gazing out a car window. “I just don’t believe that’s what life is like.”\u003c/p>\n\u003cp>If Cave seems adrift and beset by spiritual crisis, it’s due to the tragic death of his 15-year-old son, who fell from a cliff near the family home in Brighton, England last summer. The incident, though hardly referred to explicitly, stalks every moment of the movie. Cave scoffs, in one scene, at empty “platitudes,” especially the ones dispensed by acquaintances like Hallmark cards, including himself in this indictment as well. “Everything I’m saying,” he says, “is bullshit.”\u003c/p>\n\u003cp>A stirring, gorgeously composed movie about splintering under the weight of grief,\u003cem> One More Time with Feeling\u003c/em> depicts Cave at home and in the studio recording the Bad Seeds’ 16th album, \u003cem>The Skeleton Tree\u003c/em>. The hybrid narrative and documentary film, which premiered in theaters Sept. 8, was directed by Andrew Dominik, who’s worked closely with the songwriter before: Cave and key collaborator Warren Ellis composed a soundtrack for Dominik’s 2007 western, \u003cem>The Assassination of Jesse James by the Coward Robert Ford.\u003c/em>\u003c/p>\n\u003cp>There’s palpable intimacy — Cave, once a famously combative interviewee, smiles naturally enough to undermine years of dour branding — but there are also references to the cameraman and other such nods to documentary contrivance. The 2014 film \u003cem>20,000 Days on Earth\u003c/em>, which ostensibly chronicled Cave writing and recording the Bad Seeds’ last album, similarly combined documentary tropes and screenwriting, though to significantly more misdirecting effect.\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/svru1jNLIK8'\n title='//www.youtube.com/embed/svru1jNLIK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the camera lingers on Cave staring at a piano, the artist voices over his internal dialog, expressing frustration that the chords to a song seem to have escaped him. After his wife brandishes a childhood painting by their late son of the fateful cliffs, Cave recites a poem with the refrain, \u003cem>There’s more paradise in hell than we’ve been told\u003c/em>. That Cave’s fictions sometimes seem prophetic is a potent theme.\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling\u003c/em> is partly a performance film. Black-and-white cinematography renders the studio-cum-venue in vivid tones, lit neither too starkly nor ethereally, and the camera floats about really rather freely. The band plays almost all of \u003cem>The Skeleton Tree\u003c/em>, a spare album composed of piano patter, accentual strings, and Ellis’ rippling electronic effects. But with the intensity of little more than a murmuring thrum, it envelops.\u003c/p>\n\u003cp>It’s telling that at one point in the movie Cave and his band mates mention disagreeing about where exactly the turnaround beat rests in a song. \u003cem>The Skeleton Tree\u003c/em> is one of most of amorphous albums in the Bad Seeds’ catalog, unmoored from the ballad structures and plodding grooves that underpin so much of the group’s material.\u003c/p>\n\u003cp>And Cave actually improvises many passages on the record. He’s less composed than usual. They’re not densely literary songs. At least, not compared to something like \u003cem>Push the Sky Away\u003c/em>’s oblique interrogation of faith and science, “Higgs Boson Blues.” And yet his wavering intonation of simple, direct phrases such as “Nothing really matters,” or “They told us our gods would outlive us / But they lied” resonates instead with its vulnerability.\u003c/p>\n\u003cp>It’s a departure from the image, cultivated throughout Cave’s career, of the scholar in pop culture exile, the lyrical tactician who reproduces excerpts from his notebook for fans. But his relationship to words, which he once feared and revered, as a moving segment of \u003cem>One More Time with Feeling\u003c/em> illustrates, is broken. Writers often turn personal experience into material. “But this kind of trauma,” he says, “it was extremely damaging to the creative process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling runs in limited encore screenings at the Roxie Theater in SF from Sept. 9 – 11. \u003ca href=\"http://www.roxie.com/ai1ec_event/one-more-time-with-feeling/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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