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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. 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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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.) 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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/FhwktRDG_aQ'\n title='//www.youtube.com/embed/FhwktRDG_aQ'\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 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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"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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"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",
"headTitle": "New Film Examines the Struggling, Post-Ghost Ship Underground Scene | KQED",
"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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"title": "Dream But Don't Sleep: Remembering Mike 'Dream' Francisco",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDp38sltic8\u003c/p>\n\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even Harshaw says he was surprised at the depth of Dream’s story.\u003c/p>\n\u003cp>“When I started, I thought I was gonna tell a story that bumped up against how police couldn’t control certain aspects of graffiti, or how there’s no art in schools,” Harshaw says. “I ended up having a documentary that really questions, ‘What is art?’ That’s an urban philosophical debate, of sorts, but with Dream and TDK, their story, there’s so many layers of it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\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/cDp38sltic8'\n title='//www.youtube.com/embed/cDp38sltic8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even Harshaw says he was surprised at the depth of Dream’s story.\u003c/p>\n\u003cp>“When I started, I thought I was gonna tell a story that bumped up against how police couldn’t control certain aspects of graffiti, or how there’s no art in schools,” Harshaw says. “I ended up having a documentary that really questions, ‘What is art?’ That’s an urban philosophical debate, of sorts, but with Dream and TDK, their story, there’s so many layers of it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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