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"content": "\u003cp>In 2013, \u003ca href=\"https://www.npr.org/books/authors/760121931/edward-snowden\" target=\"_blank\" rel=\"noopener noreferrer\">Edward Snowden\u003c/a>, a contractor with the National Security Agency, rocked the world when he \u003ca href=\"https://www.npr.org/2013/09/18/223523622/officials-edward-snowdens-leaks-were-masked-by-job-duties\" target=\"_blank\" rel=\"noopener noreferrer\">leaked\u003c/a> thousands of classified documents about U.S. surveillance programs.\u003c/p>\n\u003cp>Barton Gellman, a former \u003cem>The Washington Post \u003c/em>reporter\u003cem>,\u003c/em> was one of three journalists—including filmmaker \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127238681\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Poitras\u003c/a>, and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/06/11/190670954/he-broke-the-nsa-leaks-story-but-just-who-is-glenn-greenwald\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Greenwald\u003c/a> of \u003cem>The Guardian—\u003c/em>with whom Snowden chose to share the documents. Gellman says initially Snowden was skeptical of him.\u003c/p>\n\u003cp>“He thought that \u003cem>The Washington Post\u003c/em> would be afraid to publish or would bow down to government pressure,” Gellman says. “It took a lot of convincing for him, just as it took a lot of convincing for me that he was for real.”\u003c/p>\n\u003cp>Snowden shared information about surveillance programs previously unknown to the American public, including the fact that the government was keeping records of private citizens’ phone calls, and that the NSA was harvesting data from big internet companies, including Google, Facebook and Microsoft.\u003c/p>\n\u003cp>Gellman reached out to \u003cem>The Washington Post, \u003c/em>the paper he’d left three years earlier, which went on to publish a series of articles based on Snowden’s classified information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a new book, \u003cem>Dark Mirror, \u003c/em>Gellman writes about his relationship with Snowden and the high-stakes reporting that ultimately garnered him, Poitras and Greenwald a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/04/14/303002434/pulitzer-prizes-are-out-washington-post-the-guardian-win-for-nsa-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Pulitzer Prize\u003c/a>.\u003c/p>\n\u003cp>The U.S. government charged Snowden with \u003ca href=\"https://www.npr.org/sections/parallels/2017/06/28/534682231/once-reserved-for-spies-espionage-act-now-used-against-suspected-leakers\" target=\"_blank\" rel=\"noopener noreferrer\">espionage\u003c/a>, but Snowden, who is living in exile in Russia, maintains that he acted as a whistleblower in sharing the classified documents.\u003c/p>\n\u003cp>Gellman says that no matter your opinion about Snowden, one things is clear: “Ed Snowden succeeded beyond the wildest ambitions that he could plausibly have had. … Even the biggest critics of Snowden—not all of them, but some of them—… all say he started a debate that the public needed to have about the limits of surveillance in a democratic society.”\u003c/p>\n\u003cp>“At the same time,” Gellman adds, “most of the programs that he exposed continue.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the terms Snowden agreed upon with Gellman, Poitras and Greenwald \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880753 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png\" alt=\"\" width=\"305\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM-160x244.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">I told Snowden that … I would make my own judgment about the news value and that I would give the government an opportunity to tell me about damage they foresaw, if the story was published. And so I had that conversation with the government every time. Snowden at first seemed a little skeptical about this and worried that it simply meant I was going to give the government veto power over an article. And in fact, he saw it as potential evidence of a cowardly approach by \u003cem>The Washington Post\u003c/em>. Later, he came to see the value and the importance of trying to avoid avoidable harm in the publication of these stories. And he began to insist that that was what he wanted all along. …\u003c/p>\n\u003cp>Snowden absolutely wanted us to make our own judgments about newsworthiness. He absolutely did not want us to dump the entire archive online. If he wanted that, he could have done it himself. I mean, the guy knows how to work the Internet. He wanted the credibility of journalists behind the disclosures. He wanted us to check the facts and set the context. And he wanted us to decide what was newsworthy and what was harmful. So he essentially relinquished all the close judgment calls to me and my fellow journalists.\u003c/p>\n\u003cp>\u003cstrong>On the importance of checks and balances on the government’s surveillance power \u003c/strong>\u003c/p>\n\u003cp>There were people in 2013 and ’14 and ’15 who told me they didn’t worry about the enormous power of this surveillance machinery because they trusted the people who were running it. They trusted themselves. They trusted the inspector general to call out and prevent bad behavior. They trusted supervisors. They trusted, fundamentally, the president and the presidency. And they trusted Democrats and Republicans. They trusted George W. Bush and Barack Obama equally to use this stuff with the right motives and with the right kinds of limits.\u003c/p>\n\u003cp>But so much of what is done under authority of the NSA is done based on norms and traditional understandings of what terms mean and on legal interpretations. When Trump came to power—a guy who is allergic to norms, a guy who is at war with every institution of accountability, whether it’s the press, whether it’s inspectors general, whether it’s courts—when that kind of person has his hands on the enormous power that is granted by the ability to look into [and] see into anything that travels across the Internet, then they’re worried.\u003c/p>\n\u003cp>So people who surprise me—people like \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Comey\u003c/a>, and people like Gen. [James] Clapper, who had been the director of national intelligence, these were people who had ardently defended the surveillance powers and the checks and balances held on them—they were no longer so confident about those checks and balances.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Snowden\u003c/strong>\u003c/p>\n\u003cp>Snowden wanted advocates on his side. He wanted a pure and clear message of dissent against the way the NSA was behaving. And he wanted nothing that would raise any doubts or questions about him or get into his personal life or anything like that. I continued to ask questions the way a journalist should ask questions. And so we would have these tense exchanges in which he would say, for example, “Are you purposely asking me things you know I won’t answer just to piss me off?”\u003c/p>\n\u003cp>The first time he got angry at me he was right to be angry. In an early profile of him, I inadvertently exposed an online handle—an anonymous handle—that he was still using for communications. And that caused him some trouble as he tried to change handles and encryption keys on the fly. …\u003c/p>\n\u003cp>He quit talking to me for several months after that. And we started up again because he believed I was handling these stories seriously, that I was diving into the subject in a way that was exposing truths that weren’t being exposed anywhere else, because this wasn’t just a question of opening the documents, reading and writing your story. The documents were incomplete, pieces of a jigsaw puzzle, very hard to understand. They required external reporting with sources in the government and out of the government. They required interpretation and discovery. And I was putting things together in a way that he thought was important. And so he got over his personal anger at the way I behaved.\u003c/p>\n\u003cp>\u003cstrong>On the cybersecurity precautions he took when he visited Snowden in Moscow in Dec.2013\u003c/strong>\u003c/p>\n\u003cp>I don’t like to be dramatic or self-important, but I thought, yeah, there’s a pretty good chance that if an American journalist who is writing about secret American intelligence programs comes over to interview a former intelligence officer, Ed Snowden, that that would probably be worth their diversion of a little bit of surveillance to themselves.\u003c/p>\n\u003cp>I assumed that my devices and my telephone calls would be monitored, and so to begin with, I didn’t bring any data over with me. I wasn’t gonna bring classified U.S. documents to a country where they could possibly read them and directly expose American secrets to a foreign power.\u003c/p>\n\u003cp>So I didn’t log onto any of my accounts, I didn’t bring my actual computer or my usual telephone, I brought empty ones. But I still had the puzzle of how I was going to interview Snowden, take notes, take photographs, make recordings, and then bring those back to the United States while crossing an international border and not hand over those documents, those recordings and so on to either government. I didn’t want the U.S. government to hear everything I’d said with Snowden. I didn’t want the Russian government to have access to all that information either.\u003c/p>\n\u003cp>\u003cstrong>On the House Intelligence Committee report, which was very critical of Snowden\u003c/strong>\u003c/p>\n\u003cp>If there were particular harms done by particular disclosures, that fact itself would be classified. … And so I can’t argue with an assertion that’s made in the dark, and there may be legitimate reasons to keep that classified. On the other hand, I would have to say that, not to put a fine point on it, that House Intelligence Committee report was garbage. It was a political document. It was basically a long screed about Ed Snowden, and it was filled with facts or assertions of fact that were plainly rebuttable, that they were simply wrong.\u003c/p>\n\u003cp>Just the simple question of calling Ed Snowden, “a high school dropout.” He had earned his GED at the same time that his class graduated with top, top scores. They knew that he had advanced computer security and computer science credentials. Or, for example, they said there’s no evidence that Ed Snowden actually was injured in the Army. And so he was lying about the reasons for the end of his Army service. Well, Army records made it very clear. I’ve seen the records. He broke both legs in training and for the House Intelligence Committee, which had privileged access to government records, to say things like that gives you a decent flavor of the more complicated untruths in the report.\u003c/p>\n\u003cp>\u003cstrong>On being a target for international hackers \u003c/strong>\u003c/p>\n\u003cp>It’s not paranoid if people are really trying to get you. I knew from the first time I saw the documents before I published a story that this was going to paint a big target on my back. It’s advertising that you have something special and secret and advertising pretty quickly that I was not going to publish all of it. So I knew that I would be a subject of interest to hackers, to the U.S. government and to foreign intelligence agencies. And I gradually accumulated considerable evidence that this was true.\u003c/p>\n\u003cp>Someone tried to break into my Gmail accounts, where I did not store sensitive documents. But nevertheless, Google warned me, a big flashing pink bar on my screen said, “Warning! We believe that state-sponsored attackers are trying to break into your device or your account.” I found out later that that was the government of Turkey. Turkey was unexpected and bad news for me, because I thought there were a substantial number of likely candidates and more capable candidates coming after me. So if Turkey also was joining the party, that suggested the threat landscape was broader than I would have liked to think.\u003c/p>\n\u003cp>My iPad was hacked right in front of my eyes as I was holding it. The screen gutted out of the static and then white letters started marching across the screen with technical commands in a language called Unix. If that had worked as expected, as intended, it would have happened while I slept or wasn’t looking at the machine. And after a couple of minutes of fooling around like that, the hacker would have complete control of the device. And what worried me about that was that remotely hacking an iPad is not a beginners’ hack. It’s quite difficult and quite expensive to break through Apple’s considerable security remotely without physically connecting to the device. It’s a million-dollar hack, that is, say that data brokers or surveillance brokers pay million-dollar bounties for what’s called an untethered hack of the iPad operating system. I did not want to be worth that kind of effort. I did not want to be worth that kind of expense. But I was.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Joel Wolfram\u003c/em> \u003cem>produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Journalist+Who+Helped+Break+Snowden%27s+Story+Reflects+On+His+High-Stakes+Reporting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Barton Gellman shared a Pulitzer for reporting about Edward Snowden and secret surveillance. His new book is 'Dark Mirror.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2013, \u003ca href=\"https://www.npr.org/books/authors/760121931/edward-snowden\" target=\"_blank\" rel=\"noopener noreferrer\">Edward Snowden\u003c/a>, a contractor with the National Security Agency, rocked the world when he \u003ca href=\"https://www.npr.org/2013/09/18/223523622/officials-edward-snowdens-leaks-were-masked-by-job-duties\" target=\"_blank\" rel=\"noopener noreferrer\">leaked\u003c/a> thousands of classified documents about U.S. surveillance programs.\u003c/p>\n\u003cp>Barton Gellman, a former \u003cem>The Washington Post \u003c/em>reporter\u003cem>,\u003c/em> was one of three journalists—including filmmaker \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127238681\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Poitras\u003c/a>, and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/06/11/190670954/he-broke-the-nsa-leaks-story-but-just-who-is-glenn-greenwald\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Greenwald\u003c/a> of \u003cem>The Guardian—\u003c/em>with whom Snowden chose to share the documents. Gellman says initially Snowden was skeptical of him.\u003c/p>\n\u003cp>“He thought that \u003cem>The Washington Post\u003c/em> would be afraid to publish or would bow down to government pressure,” Gellman says. “It took a lot of convincing for him, just as it took a lot of convincing for me that he was for real.”\u003c/p>\n\u003cp>Snowden shared information about surveillance programs previously unknown to the American public, including the fact that the government was keeping records of private citizens’ phone calls, and that the NSA was harvesting data from big internet companies, including Google, Facebook and Microsoft.\u003c/p>\n\u003cp>Gellman reached out to \u003cem>The Washington Post, \u003c/em>the paper he’d left three years earlier, which went on to publish a series of articles based on Snowden’s classified information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a new book, \u003cem>Dark Mirror, \u003c/em>Gellman writes about his relationship with Snowden and the high-stakes reporting that ultimately garnered him, Poitras and Greenwald a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/04/14/303002434/pulitzer-prizes-are-out-washington-post-the-guardian-win-for-nsa-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Pulitzer Prize\u003c/a>.\u003c/p>\n\u003cp>The U.S. government charged Snowden with \u003ca href=\"https://www.npr.org/sections/parallels/2017/06/28/534682231/once-reserved-for-spies-espionage-act-now-used-against-suspected-leakers\" target=\"_blank\" rel=\"noopener noreferrer\">espionage\u003c/a>, but Snowden, who is living in exile in Russia, maintains that he acted as a whistleblower in sharing the classified documents.\u003c/p>\n\u003cp>Gellman says that no matter your opinion about Snowden, one things is clear: “Ed Snowden succeeded beyond the wildest ambitions that he could plausibly have had. … Even the biggest critics of Snowden—not all of them, but some of them—… all say he started a debate that the public needed to have about the limits of surveillance in a democratic society.”\u003c/p>\n\u003cp>“At the same time,” Gellman adds, “most of the programs that he exposed continue.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the terms Snowden agreed upon with Gellman, Poitras and Greenwald \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880753 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png\" alt=\"\" width=\"305\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-20-at-11.27.08-AM-160x244.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">I told Snowden that … I would make my own judgment about the news value and that I would give the government an opportunity to tell me about damage they foresaw, if the story was published. And so I had that conversation with the government every time. Snowden at first seemed a little skeptical about this and worried that it simply meant I was going to give the government veto power over an article. And in fact, he saw it as potential evidence of a cowardly approach by \u003cem>The Washington Post\u003c/em>. Later, he came to see the value and the importance of trying to avoid avoidable harm in the publication of these stories. And he began to insist that that was what he wanted all along. …\u003c/p>\n\u003cp>Snowden absolutely wanted us to make our own judgments about newsworthiness. He absolutely did not want us to dump the entire archive online. If he wanted that, he could have done it himself. I mean, the guy knows how to work the Internet. He wanted the credibility of journalists behind the disclosures. He wanted us to check the facts and set the context. And he wanted us to decide what was newsworthy and what was harmful. So he essentially relinquished all the close judgment calls to me and my fellow journalists.\u003c/p>\n\u003cp>\u003cstrong>On the importance of checks and balances on the government’s surveillance power \u003c/strong>\u003c/p>\n\u003cp>There were people in 2013 and ’14 and ’15 who told me they didn’t worry about the enormous power of this surveillance machinery because they trusted the people who were running it. They trusted themselves. They trusted the inspector general to call out and prevent bad behavior. They trusted supervisors. They trusted, fundamentally, the president and the presidency. And they trusted Democrats and Republicans. They trusted George W. Bush and Barack Obama equally to use this stuff with the right motives and with the right kinds of limits.\u003c/p>\n\u003cp>But so much of what is done under authority of the NSA is done based on norms and traditional understandings of what terms mean and on legal interpretations. When Trump came to power—a guy who is allergic to norms, a guy who is at war with every institution of accountability, whether it’s the press, whether it’s inspectors general, whether it’s courts—when that kind of person has his hands on the enormous power that is granted by the ability to look into [and] see into anything that travels across the Internet, then they’re worried.\u003c/p>\n\u003cp>So people who surprise me—people like \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Comey\u003c/a>, and people like Gen. [James] Clapper, who had been the director of national intelligence, these were people who had ardently defended the surveillance powers and the checks and balances held on them—they were no longer so confident about those checks and balances.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Snowden\u003c/strong>\u003c/p>\n\u003cp>Snowden wanted advocates on his side. He wanted a pure and clear message of dissent against the way the NSA was behaving. And he wanted nothing that would raise any doubts or questions about him or get into his personal life or anything like that. I continued to ask questions the way a journalist should ask questions. And so we would have these tense exchanges in which he would say, for example, “Are you purposely asking me things you know I won’t answer just to piss me off?”\u003c/p>\n\u003cp>The first time he got angry at me he was right to be angry. In an early profile of him, I inadvertently exposed an online handle—an anonymous handle—that he was still using for communications. And that caused him some trouble as he tried to change handles and encryption keys on the fly. …\u003c/p>\n\u003cp>He quit talking to me for several months after that. And we started up again because he believed I was handling these stories seriously, that I was diving into the subject in a way that was exposing truths that weren’t being exposed anywhere else, because this wasn’t just a question of opening the documents, reading and writing your story. The documents were incomplete, pieces of a jigsaw puzzle, very hard to understand. They required external reporting with sources in the government and out of the government. They required interpretation and discovery. And I was putting things together in a way that he thought was important. And so he got over his personal anger at the way I behaved.\u003c/p>\n\u003cp>\u003cstrong>On the cybersecurity precautions he took when he visited Snowden in Moscow in Dec.2013\u003c/strong>\u003c/p>\n\u003cp>I don’t like to be dramatic or self-important, but I thought, yeah, there’s a pretty good chance that if an American journalist who is writing about secret American intelligence programs comes over to interview a former intelligence officer, Ed Snowden, that that would probably be worth their diversion of a little bit of surveillance to themselves.\u003c/p>\n\u003cp>I assumed that my devices and my telephone calls would be monitored, and so to begin with, I didn’t bring any data over with me. I wasn’t gonna bring classified U.S. documents to a country where they could possibly read them and directly expose American secrets to a foreign power.\u003c/p>\n\u003cp>So I didn’t log onto any of my accounts, I didn’t bring my actual computer or my usual telephone, I brought empty ones. But I still had the puzzle of how I was going to interview Snowden, take notes, take photographs, make recordings, and then bring those back to the United States while crossing an international border and not hand over those documents, those recordings and so on to either government. I didn’t want the U.S. government to hear everything I’d said with Snowden. I didn’t want the Russian government to have access to all that information either.\u003c/p>\n\u003cp>\u003cstrong>On the House Intelligence Committee report, which was very critical of Snowden\u003c/strong>\u003c/p>\n\u003cp>If there were particular harms done by particular disclosures, that fact itself would be classified. … And so I can’t argue with an assertion that’s made in the dark, and there may be legitimate reasons to keep that classified. On the other hand, I would have to say that, not to put a fine point on it, that House Intelligence Committee report was garbage. It was a political document. It was basically a long screed about Ed Snowden, and it was filled with facts or assertions of fact that were plainly rebuttable, that they were simply wrong.\u003c/p>\n\u003cp>Just the simple question of calling Ed Snowden, “a high school dropout.” He had earned his GED at the same time that his class graduated with top, top scores. They knew that he had advanced computer security and computer science credentials. Or, for example, they said there’s no evidence that Ed Snowden actually was injured in the Army. And so he was lying about the reasons for the end of his Army service. Well, Army records made it very clear. I’ve seen the records. He broke both legs in training and for the House Intelligence Committee, which had privileged access to government records, to say things like that gives you a decent flavor of the more complicated untruths in the report.\u003c/p>\n\u003cp>\u003cstrong>On being a target for international hackers \u003c/strong>\u003c/p>\n\u003cp>It’s not paranoid if people are really trying to get you. I knew from the first time I saw the documents before I published a story that this was going to paint a big target on my back. It’s advertising that you have something special and secret and advertising pretty quickly that I was not going to publish all of it. So I knew that I would be a subject of interest to hackers, to the U.S. government and to foreign intelligence agencies. And I gradually accumulated considerable evidence that this was true.\u003c/p>\n\u003cp>Someone tried to break into my Gmail accounts, where I did not store sensitive documents. But nevertheless, Google warned me, a big flashing pink bar on my screen said, “Warning! We believe that state-sponsored attackers are trying to break into your device or your account.” I found out later that that was the government of Turkey. Turkey was unexpected and bad news for me, because I thought there were a substantial number of likely candidates and more capable candidates coming after me. So if Turkey also was joining the party, that suggested the threat landscape was broader than I would have liked to think.\u003c/p>\n\u003cp>My iPad was hacked right in front of my eyes as I was holding it. The screen gutted out of the static and then white letters started marching across the screen with technical commands in a language called Unix. If that had worked as expected, as intended, it would have happened while I slept or wasn’t looking at the machine. And after a couple of minutes of fooling around like that, the hacker would have complete control of the device. And what worried me about that was that remotely hacking an iPad is not a beginners’ hack. It’s quite difficult and quite expensive to break through Apple’s considerable security remotely without physically connecting to the device. It’s a million-dollar hack, that is, say that data brokers or surveillance brokers pay million-dollar bounties for what’s called an untethered hack of the iPad operating system. I did not want to be worth that kind of effort. I did not want to be worth that kind of expense. But I was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Jerry Stiller told his father he wanted to become an actor, his father offered an alternate plan. He said, “Why don’t you be a stagehand — that’s like being on the stage — at least you’ll be working every night,” Stiller told \u003cem>Fresh Air\u003c/em> in 1993.\u003c/p>\n\u003cp>Stiller did not heed his father’s advice and went on to have a long career in show business. He performed comedy on stage and screen, and, in later years, made a name for himself playing George Costanza’s hot-headed father on \u003cem>Seinfeld. \u003c/em>Stiller died of natural causes, his son Ben Stiller \u003ca href=\"https://twitter.com/RedHourBen/status/1259759084309446657?s=20\">tweeted\u003c/a> Monday.\u003c/p>\n\u003cp>Stiller was born in Brooklyn in 1927. After serving in World War II, he teamed up with his wife, Anne Meara, to form the Stiller and Meara comedy duo — a practical move motivated by love. “We wanted to keep the marriage together,” he joked — she was tall and Catholic, he was short and Jewish — and until they partnered up, “we never got jobs together,” Stiller told the Archive of American Television.\u003c/p>\n\u003cp>Stiller and Meara enjoyed success as a duo for many years but eventually decided to pursue careers on their own. Looking back in 1993, Stiller told \u003cem>Fresh Air\u003c/em> he and Meara were young parents juggling a show business schedule — and trying “to figure out a way to do everything.”\u003c/p>\n\u003cp>“Here were a husband and wife working together and suddenly you’re being asked to play Las Vegas,” he recalled. “What do you do, pick up the two children and the nanny and go to Vegas and get ready to do the nightclub act?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After stints on Broadway and on several TV shows in the 1970s, Stiller’s most notable role came in the early ’90s, when he joined the cast of \u003cem>Seinfeld.\u003c/em>\u003c/p>\n\u003cp>Stiller said producer Larry David was looking for an actor who would “play it down” — and he did at first — but felt the approach wasn’t working. So, in a final dress rehearsal in front of a live audience, Stiller played Costanza’s temperament up — way up.\u003c/p>\n\u003cp>In a now-famous episode, the frequently furious Costanza is encouraged to recite the mantra “serenity now” every time he gets riled up. Stiller went on to earn an Emmy nomination for his work on\u003cem> Seinfeld\u003c/em>. Years later, he played another angry dad on the show \u003cem>King of Queens.\u003c/em>\u003c/p>\n\u003cp>Stiller was also a father in real life, but not one fueled by anger. His son, actor Ben Stiller, told NPR that his dad was always supportive — and hilarious.\u003c/p>\n\u003cp>“He just can’t help but be funny because he’s so committed to being who he is,” Stiller said.\u003c/p>\n\u003cp>The father and son appeared together in Ben’s \u003cem>Zoolander \u003c/em>movies.\u003c/p>\n\u003cp>When Meara died in 2015, she and Stiller had been married for more than 60 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ben Stiller said his mother’s humor tended to be dark, but his father’s was always intended to bring joy, and perhaps a bit of “serenity now,” to others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedian+Jerry+Stiller%2C+Who+Played+Hot-Headed+Dad+On+%27Seinfeld%2C%27+Dies+At+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jerry Stiller told his father he wanted to become an actor, his father offered an alternate plan. He said, “Why don’t you be a stagehand — that’s like being on the stage — at least you’ll be working every night,” Stiller told \u003cem>Fresh Air\u003c/em> in 1993.\u003c/p>\n\u003cp>Stiller did not heed his father’s advice and went on to have a long career in show business. He performed comedy on stage and screen, and, in later years, made a name for himself playing George Costanza’s hot-headed father on \u003cem>Seinfeld. \u003c/em>Stiller died of natural causes, his son Ben Stiller \u003ca href=\"https://twitter.com/RedHourBen/status/1259759084309446657?s=20\">tweeted\u003c/a> Monday.\u003c/p>\n\u003cp>Stiller was born in Brooklyn in 1927. After serving in World War II, he teamed up with his wife, Anne Meara, to form the Stiller and Meara comedy duo — a practical move motivated by love. “We wanted to keep the marriage together,” he joked — she was tall and Catholic, he was short and Jewish — and until they partnered up, “we never got jobs together,” Stiller told the Archive of American Television.\u003c/p>\n\u003cp>Stiller and Meara enjoyed success as a duo for many years but eventually decided to pursue careers on their own. Looking back in 1993, Stiller told \u003cem>Fresh Air\u003c/em> he and Meara were young parents juggling a show business schedule — and trying “to figure out a way to do everything.”\u003c/p>\n\u003cp>“Here were a husband and wife working together and suddenly you’re being asked to play Las Vegas,” he recalled. “What do you do, pick up the two children and the nanny and go to Vegas and get ready to do the nightclub act?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets are $8.25 general admission / $1.75 for kids age 5–11. (No smuggling your friends in the trunk, now!) \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lockdown Movie Musts: 1970s Disaster Debacles",
"headTitle": "Lockdown Movie Musts: 1970s Disaster Debacles | KQED",
"content": "\u003cp>Welcome to Week 6 of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least I’m not trapped in a burning building with Charlton Heston right now.”\u003c/p>\n\u003cp>This week, hold onto your pants/a priest/a pilot because we’re diving head first into 1970s disaster movies. I know, I know—it seems counterintuitive to subject yourself to this right now. But \u003cem>trust me\u003c/em>. You’ll not find another genre in which the tenacity of the human spirit shines brighter. Also—someone has to say it—there just is no balm more soothing than watching Much Worse Things happen to (fictional) Other People.\u003c/p>\n\u003cp>Need examples? Here’s a list of things that happen to characters in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069113/?ref_=fn_al_tt_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a> that are way worse than sheltering in place:\u003c/p>\n\u003col>\n\u003cli>Getting crushed by a piano;\u003c/li>\n\u003cli>Getting crushed by a giant Christmas tree;\u003c/li>\n\u003cli>Falling from a great height into an ornate glass window/a fire/a flooded pipe;\u003c/li>\n\u003cli>Taking orders from Gene Hackman;\u003c/li>\n\u003cli>Crawling through a hot pipe with Gene Hackman;\u003c/li>\n\u003cli>Dying of a heart attack because you saved Gene Hackman.\u003c/li>\n\u003c/ol>\n\u003cp>You get the idea.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CP0wV7IvSiI\u003c/p>\n\u003cp>Needless to say, if you’re one of the few people who hasn’t already developed a phobia of cruises after witnessing floating coronavirus quarantines, \u003cem>The Poseidon Adventure\u003c/em> should finish the job.\u003c/p>\n\u003cp>Which brings us to another movie that’s excellent at making you feel just fine about not traveling: 1970’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0065377/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Airport\u003c/a>\u003c/em>. This spawned three sequels and 1980’s \u003ca href=\"https://www.imdb.com/title/tt0080339/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Airplane!\u003c/em>\u003c/a> parody, starring Leslie Nielsen. (Nielsen, by the by, also played the captain in \u003cem>The Poseidon Adventure\u003c/em>. I’d have mentioned it sooner but he dies after about two minutes, so … y’know.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, \u003cem>Airport\u003c/em> is a movie that’s modern enough to depict airports as the raging, overcrowded hellscapes they still are, but old enough to have a philandering pilot character played (of course!) by Dean Martin. At one point, Martin tries to coerce a flight attendant into sexual activity by saying: “If you take me up to full throttle then throw me into reverse, you could damage my engine.”\u003c/p>\n\u003cp>Sorry. Can you hang on a minute?\u003c/p>\n\u003cp>*puts fist through wall*\u003c/p>\n\u003cp>That’s better.\u003c/p>\n\u003cp>This film is also old enough to present The Time Before Airport Security. There are plots about un-ticketed passengers slipping undetected onto flights; men casually carrying bombs onto planes inside briefcases; and airport employees feeling suspicious about passengers’ bags but being told, “There’s nothing we can do about it on this end.” (If we’re ever allowed in airports again, next time a TSA agent asks me to take my shoes off, I’ll probably kiss them.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PACKbKt8MOw\u003c/p>\n\u003cp>In the end, \u003cem>Airport\u003c/em> is basically a two-and-a-half-hour time capsule of a) how stupid we used to be, and; b) how tolerant audiences used to be of unnecessarily long movies featuring protracted scenes of snow shoveling.\u003c/p>\n\u003cp>Talking of which, almost nothing at all happens in the first 50 minutes of 1974’s \u003ca href=\"https://www.imdb.com/title/tt0071455/?ref_=nv_sr_srsg_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Earthquake\u003c/em>\u003c/a>. You don’t really mind though, because instead of snow stuff, you get a variety of fun distractions like Geneviève Bujold’s pink-on-pink-on-pink-on-pink wardrobe and Walter Matthau’s cameo as a drunk. (Though, for some reason, in the credits he’s listed as “Walter Matuschanskayasky.” There’s obviously a joke here, but I can’t seem to find the punchline.)\u003c/p>\n\u003cp>Best of all, there’s Charlton Heston’s ridiculous car, which looks like this:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13879446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>What is it? Where’s the roof? Did a 6-year-old boy design it? Does the orange stripe make it go faster? Regardless of the answers, it tells you everything you need to know about Heston’s character. Whose name is Graff, by the way. (GRAFF.)\u003c/p>\n\u003cp>\u003cem>Earthquake\u003c/em> is a movie in which skyscrapers come with windows that can be broken by delicately nudging office chairs against them, and houses spontaneously explode for no reason. It’s a movie in which, on experiencing an Extremely Bad Earthquake, Charlton Heston still doesn’t put the roof on his car, cops herd civilians into basements, and high-rise office workers—this is my favorite one—pile into the nearest elevator.\u003c/p>\n\u003cp>So, yes. These people are even dumber than the ground staff in \u003cem>Airport\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w_BwX2fEUTo\u003c/p>\n\u003cp>All of which will make you happy to be on the ground, above the water and unimpeded by falling concrete slabs.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Week 6 of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least I’m not trapped in a burning building with Charlton Heston right now.”\u003c/p>\n\u003cp>This week, hold onto your pants/a priest/a pilot because we’re diving head first into 1970s disaster movies. I know, I know—it seems counterintuitive to subject yourself to this right now. But \u003cem>trust me\u003c/em>. You’ll not find another genre in which the tenacity of the human spirit shines brighter. Also—someone has to say it—there just is no balm more soothing than watching Much Worse Things happen to (fictional) Other People.\u003c/p>\n\u003cp>Need examples? Here’s a list of things that happen to characters in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069113/?ref_=fn_al_tt_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a> that are way worse than sheltering in place:\u003c/p>\n\u003col>\n\u003cli>Getting crushed by a piano;\u003c/li>\n\u003cli>Getting crushed by a giant Christmas tree;\u003c/li>\n\u003cli>Falling from a great height into an ornate glass window/a fire/a flooded pipe;\u003c/li>\n\u003cli>Taking orders from Gene Hackman;\u003c/li>\n\u003cli>Crawling through a hot pipe with Gene Hackman;\u003c/li>\n\u003cli>Dying of a heart attack because you saved Gene Hackman.\u003c/li>\n\u003c/ol>\n\u003cp>You get the idea.\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/CP0wV7IvSiI'\n title='//www.youtube.com/embed/CP0wV7IvSiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Needless to say, if you’re one of the few people who hasn’t already developed a phobia of cruises after witnessing floating coronavirus quarantines, \u003cem>The Poseidon Adventure\u003c/em> should finish the job.\u003c/p>\n\u003cp>Which brings us to another movie that’s excellent at making you feel just fine about not traveling: 1970’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0065377/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Airport\u003c/a>\u003c/em>. This spawned three sequels and 1980’s \u003ca href=\"https://www.imdb.com/title/tt0080339/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Airplane!\u003c/em>\u003c/a> parody, starring Leslie Nielsen. (Nielsen, by the by, also played the captain in \u003cem>The Poseidon Adventure\u003c/em>. I’d have mentioned it sooner but he dies after about two minutes, so … y’know.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, \u003cem>Airport\u003c/em> is a movie that’s modern enough to depict airports as the raging, overcrowded hellscapes they still are, but old enough to have a philandering pilot character played (of course!) by Dean Martin. At one point, Martin tries to coerce a flight attendant into sexual activity by saying: “If you take me up to full throttle then throw me into reverse, you could damage my engine.”\u003c/p>\n\u003cp>Sorry. Can you hang on a minute?\u003c/p>\n\u003cp>*puts fist through wall*\u003c/p>\n\u003cp>That’s better.\u003c/p>\n\u003cp>This film is also old enough to present The Time Before Airport Security. There are plots about un-ticketed passengers slipping undetected onto flights; men casually carrying bombs onto planes inside briefcases; and airport employees feeling suspicious about passengers’ bags but being told, “There’s nothing we can do about it on this end.” (If we’re ever allowed in airports again, next time a TSA agent asks me to take my shoes off, I’ll probably kiss them.)\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/PACKbKt8MOw'\n title='//www.youtube.com/embed/PACKbKt8MOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, \u003cem>Airport\u003c/em> is basically a two-and-a-half-hour time capsule of a) how stupid we used to be, and; b) how tolerant audiences used to be of unnecessarily long movies featuring protracted scenes of snow shoveling.\u003c/p>\n\u003cp>Talking of which, almost nothing at all happens in the first 50 minutes of 1974’s \u003ca href=\"https://www.imdb.com/title/tt0071455/?ref_=nv_sr_srsg_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Earthquake\u003c/em>\u003c/a>. You don’t really mind though, because instead of snow stuff, you get a variety of fun distractions like Geneviève Bujold’s pink-on-pink-on-pink-on-pink wardrobe and Walter Matthau’s cameo as a drunk. (Though, for some reason, in the credits he’s listed as “Walter Matuschanskayasky.” There’s obviously a joke here, but I can’t seem to find the punchline.)\u003c/p>\n\u003cp>Best of all, there’s Charlton Heston’s ridiculous car, which looks like this:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13879446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>What is it? Where’s the roof? Did a 6-year-old boy design it? Does the orange stripe make it go faster? Regardless of the answers, it tells you everything you need to know about Heston’s character. Whose name is Graff, by the way. (GRAFF.)\u003c/p>\n\u003cp>\u003cem>Earthquake\u003c/em> is a movie in which skyscrapers come with windows that can be broken by delicately nudging office chairs against them, and houses spontaneously explode for no reason. It’s a movie in which, on experiencing an Extremely Bad Earthquake, Charlton Heston still doesn’t put the roof on his car, cops herd civilians into basements, and high-rise office workers—this is my favorite one—pile into the nearest elevator.\u003c/p>\n\u003cp>So, yes. These people are even dumber than the ground staff in \u003cem>Airport\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w_BwX2fEUTo'\n title='//www.youtube.com/embed/w_BwX2fEUTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of which will make you happy to be on the ground, above the water and unimpeded by falling concrete slabs.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition",
"headTitle": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition | KQED",
"content": "\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. [aside postid='arts_13877955']\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ariuokNFhSw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. [aside postid='arts_13878444']\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S68QJFheZaw\u003c/p>\n\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w-lv3OxnnG4\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This week's mental escape from shelter-in-place comes via alligator people, giant crabs and a very famous fish-man. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\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/ariuokNFhSw'\n title='//www.youtube.com/embed/ariuokNFhSw'\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>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\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/S68QJFheZaw'\n title='//www.youtube.com/embed/S68QJFheZaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\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/w-lv3OxnnG4'\n title='//www.youtube.com/embed/w-lv3OxnnG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! April Dates Inspire Spring Streaming",
"headTitle": "Now Playing! April Dates Inspire Spring Streaming | KQED",
"content": "\u003cp>This week’s 4/20 and Earth Day celebrations summarily require the accompaniment of one of the 10 best San Francisco songs of all time. \u003cem>\u003ca href=\"https://youtu.be/Zt83arWRx-M\" rel=\"noopener noreferrer\" target=\"_blank\">Fresh Air\u003c/a>\u003c/em> by Quicksilver Messenger Service, one of the 10 best San Francisco bands of all time, charted five months after the inaugural Earth Day in 1970 with the car-radio-friendly lyric, “Have another hit / of fresh air.” There are other events of note on the calendar as well, whose observation is complemented through the magic of motion pictures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HLN53S9VRUA\u003c/p>\n\u003cp>\u003cb>Happy Belated Birthday to Charlie Chaplin (April 16)\u003c/b>\u003cbr>\nCharlie Chaplin would have turned 131 this year. The silent-era child actor True Boardman reminisces about his encounters with the immortal Chaplin in one of a series of videos presented by \u003ca href=\"https://www.youtube.com/channel/UC-frNdOCi1vLxQpE2YjlBtQ/featured\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a>, the unwavering East Bay institution devoted to preserving the Bay Area’s place in early film history. The most popular video on the Niles YouTube channel, not surprisingly, is entitled “Moviegoing During the 1918 Influenza Outbreak.”\u003c/p>\n\u003cp>\u003cstrong>Holocaust Memorial Day (April 21)\u003c/strong>\u003cbr>\nA few years ago, long before COVID-19 forced the Jewish Film Institute to postpone this year’s San Francisco Jewish Film Festival from July–August to November, the organization compiled a catalog of first-rate films available to stream. Some are free at \u003ca href=\"https://jfi.org/watch-online\" rel=\"noopener noreferrer\" target=\"_blank\">JFI On Demand\u003c/a>, while others require a visit (and perhaps a rental fee) to another platform.\u003c/p>\n\u003cp>https://vimeo.com/200165734\u003c/p>\n\u003cp>Two can’t-miss picks: The remarkable 2017 black-and-white Hungarian drama \u003cem>1945\u003c/em> (on \u003ca href=\"https://www.amazon.com/gp/product/B07HZ4KTZQ\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>) imagines the dirt kicked up and dug up by the postwar return of a Jewish father and son to a village harboring guilty secrets. \u003cem>Fanny’s Journey\u003c/em> (\u003ca href=\"https://kanopy.com/video/fannys-journey\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>), a French escape saga of wartime bravery and resilience released in 2016, is by turns heart-stopping and heart-warming. \u003c/p>\n\u003cp>https://youtu.be/1RQ3yFmDz-E\u003c/p>\n\u003cp>\u003cstrong>Earth Day (April 22) \u003c/strong>\u003cbr>\nNikolaus Geyrhalter’s oeuvre embodies a specifically European approach to documentary that is philosophical and exploratory rather than expository and declarative. His films’ theses gradually emerge via the accretion of breathtaking images. He filmed at seven locations around the globe for his latest, \u003cem>Earth\u003c/em>, streaming now via the \u003ca href=\"https://www.roxie.com/earth/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/G-L8mQI1xVg\u003c/p>\n\u003cp>\u003cstrong>Ramadan (begins April 23)\u003c/strong>\u003cbr>\nThe Arab Film and Media Institute has chosen a Jordanian romantic comedy from 2012, \u003cem>When Monaliza Smiled\u003c/em>, to stream April 23 in the \u003ca href=\"https://arabfilminstitute.org/event/arab-film-series-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Arab Film Series Online\u003c/a>. Click through for love, laughs, oddball supporting characters and a city—Amman—we never see on screen. \u003c/p>\n\u003cp>\u003cb>Timeless Subjects for a Limited Time Only \u003c/b>\u003cbr>\nBack in 2007, the innovative San Francisco artist and filmmaker Lynn Hershman Leeson made an atypically accessible documentary about the intersection of science, personal liberties and abusive government power. \u003cem>Strange Culture\u003c/em> recounts and reenacts (with Tilda Swinton and Thomas Jay Ryan) the FBI’s persecution of Buffalo professor and artist Steve Kurtz as a bioterrorist. The \u003ca href=\"https://www.eventbrite.com/e/mcevoy-arts-and-the-roxie-theater-present-strange-culture-tickets-102372304318\" rel=\"noopener noreferrer\" target=\"_blank\">McEvoy Foundation for the Arts\u003c/a> streams \u003cem>Strange Culture\u003c/em> April 23-26 with proceeds going to the Roxie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xGp3xbbmsWU\u003c/p>\n\u003cp>Thirty years ago, Marin Country filmmakers Nancy Kelly and Kenji Yamamoto pulled off something astonishing: They made a first-rate period Western on a micro-budget. The newly restored \u003cem>\u003ca href=\"https://rafaelfilm.cafilm.org/thousand-pieces-of-gold-home/\" rel=\"noopener noreferrer\" target=\"_blank\">Thousand Pieces of Gold\u003c/a>\u003c/em>, starring then-unknowns Rosalind Chao and Chris Cooper, had its theatrical re-release derailed by the virus. Following a recent screening and Q&A via \u003ca href=\"https://rafaelfilm.cafilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>, the Smith Rafael Film Center is on board for an encore presentation culminating on April 26 in a livestream conversation with the creative team.\u003c/p>\n\u003cp>\u003cb>For filmmakers Only (April 30)\u003c/b>\u003cbr>\nRegister now for “Ideas into Action: From Concepts to Treatments to Fully Realized Documentaries,” a virtual workshop with local filmmaker and certified mensch Sam Ball of Citizen Film. Presented by the \u003ca href=\"https://us04web.zoom.us/meeting/register/upUudumopzoiG9Kbpy_cg5tP9HuVBdCTcl6d\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Film Foundation\u003c/a>, the seminar (Thursday, April 30, 1–2:30pm) uses Citizen’s docs as case studies in the art of productive, buzzy collaboration. Kind of like Quicksilver, in a way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s 4/20 and Earth Day celebrations summarily require the accompaniment of one of the 10 best San Francisco songs of all time. \u003cem>\u003ca href=\"https://youtu.be/Zt83arWRx-M\" rel=\"noopener noreferrer\" target=\"_blank\">Fresh Air\u003c/a>\u003c/em> by Quicksilver Messenger Service, one of the 10 best San Francisco bands of all time, charted five months after the inaugural Earth Day in 1970 with the car-radio-friendly lyric, “Have another hit / of fresh air.” There are other events of note on the calendar as well, whose observation is complemented through the magic of motion pictures.\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/HLN53S9VRUA'\n title='//www.youtube.com/embed/HLN53S9VRUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Happy Belated Birthday to Charlie Chaplin (April 16)\u003c/b>\u003cbr>\nCharlie Chaplin would have turned 131 this year. The silent-era child actor True Boardman reminisces about his encounters with the immortal Chaplin in one of a series of videos presented by \u003ca href=\"https://www.youtube.com/channel/UC-frNdOCi1vLxQpE2YjlBtQ/featured\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a>, the unwavering East Bay institution devoted to preserving the Bay Area’s place in early film history. The most popular video on the Niles YouTube channel, not surprisingly, is entitled “Moviegoing During the 1918 Influenza Outbreak.”\u003c/p>\n\u003cp>\u003cstrong>Holocaust Memorial Day (April 21)\u003c/strong>\u003cbr>\nA few years ago, long before COVID-19 forced the Jewish Film Institute to postpone this year’s San Francisco Jewish Film Festival from July–August to November, the organization compiled a catalog of first-rate films available to stream. Some are free at \u003ca href=\"https://jfi.org/watch-online\" rel=\"noopener noreferrer\" target=\"_blank\">JFI On Demand\u003c/a>, while others require a visit (and perhaps a rental fee) to another platform.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two can’t-miss picks: The remarkable 2017 black-and-white Hungarian drama \u003cem>1945\u003c/em> (on \u003ca href=\"https://www.amazon.com/gp/product/B07HZ4KTZQ\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>) imagines the dirt kicked up and dug up by the postwar return of a Jewish father and son to a village harboring guilty secrets. \u003cem>Fanny’s Journey\u003c/em> (\u003ca href=\"https://kanopy.com/video/fannys-journey\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>), a French escape saga of wartime bravery and resilience released in 2016, is by turns heart-stopping and heart-warming. \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/1RQ3yFmDz-E'\n title='//www.youtube.com/embed/1RQ3yFmDz-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Earth Day (April 22) \u003c/strong>\u003cbr>\nNikolaus Geyrhalter’s oeuvre embodies a specifically European approach to documentary that is philosophical and exploratory rather than expository and declarative. His films’ theses gradually emerge via the accretion of breathtaking images. He filmed at seven locations around the globe for his latest, \u003cem>Earth\u003c/em>, streaming now via the \u003ca href=\"https://www.roxie.com/earth/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>.\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/G-L8mQI1xVg'\n title='//www.youtube.com/embed/G-L8mQI1xVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Ramadan (begins April 23)\u003c/strong>\u003cbr>\nThe Arab Film and Media Institute has chosen a Jordanian romantic comedy from 2012, \u003cem>When Monaliza Smiled\u003c/em>, to stream April 23 in the \u003ca href=\"https://arabfilminstitute.org/event/arab-film-series-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Arab Film Series Online\u003c/a>. Click through for love, laughs, oddball supporting characters and a city—Amman—we never see on screen. \u003c/p>\n\u003cp>\u003cb>Timeless Subjects for a Limited Time Only \u003c/b>\u003cbr>\nBack in 2007, the innovative San Francisco artist and filmmaker Lynn Hershman Leeson made an atypically accessible documentary about the intersection of science, personal liberties and abusive government power. \u003cem>Strange Culture\u003c/em> recounts and reenacts (with Tilda Swinton and Thomas Jay Ryan) the FBI’s persecution of Buffalo professor and artist Steve Kurtz as a bioterrorist. The \u003ca href=\"https://www.eventbrite.com/e/mcevoy-arts-and-the-roxie-theater-present-strange-culture-tickets-102372304318\" rel=\"noopener noreferrer\" target=\"_blank\">McEvoy Foundation for the Arts\u003c/a> streams \u003cem>Strange Culture\u003c/em> April 23-26 with proceeds going to the Roxie.\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/xGp3xbbmsWU'\n title='//www.youtube.com/embed/xGp3xbbmsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirty years ago, Marin Country filmmakers Nancy Kelly and Kenji Yamamoto pulled off something astonishing: They made a first-rate period Western on a micro-budget. The newly restored \u003cem>\u003ca href=\"https://rafaelfilm.cafilm.org/thousand-pieces-of-gold-home/\" rel=\"noopener noreferrer\" target=\"_blank\">Thousand Pieces of Gold\u003c/a>\u003c/em>, starring then-unknowns Rosalind Chao and Chris Cooper, had its theatrical re-release derailed by the virus. Following a recent screening and Q&A via \u003ca href=\"https://rafaelfilm.cafilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>, the Smith Rafael Film Center is on board for an encore presentation culminating on April 26 in a livestream conversation with the creative team.\u003c/p>\n\u003cp>\u003cb>For filmmakers Only (April 30)\u003c/b>\u003cbr>\nRegister now for “Ideas into Action: From Concepts to Treatments to Fully Realized Documentaries,” a virtual workshop with local filmmaker and certified mensch Sam Ball of Citizen Film. Presented by the \u003ca href=\"https://us04web.zoom.us/meeting/register/upUudumopzoiG9Kbpy_cg5tP9HuVBdCTcl6d\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Film Foundation\u003c/a>, the seminar (Thursday, April 30, 1–2:30pm) uses Citizen’s docs as case studies in the art of productive, buzzy collaboration. Kind of like Quicksilver, in a way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Happy 150th! A Brief History of Golden Gate Park in the Movies",
"headTitle": "Happy 150th! A Brief History of Golden Gate Park in the Movies | KQED",
"content": "\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IiTaPSlFUdE\u003c/p>\n\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). [aside postid='arts_13878883']\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSvY8KcES5E\u003c/p>\n\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sexnKfuSHcg\u003c/p>\n\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n",
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"excerpt": "Charlie Chaplin car chases, Jennifer Lopez romances—these are the most iconic scenes filmed in Golden Gate Park.",
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"description": "Charlie Chaplin car chases, Jennifer Lopez romances—these are the most iconic scenes filmed in Golden Gate Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\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/IiTaPSlFUdE'\n title='//www.youtube.com/embed/IiTaPSlFUdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind them.\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/nSvY8KcES5E'\n title='//www.youtube.com/embed/nSvY8KcES5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\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/sexnKfuSHcg'\n title='//www.youtube.com/embed/sexnKfuSHcg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Stream Locally, Think Globally",
"headTitle": "Now Playing! Stream Locally, Think Globally | KQED",
"content": "\u003cp>When Bruce Baillie died on April 10 at his Washington state home at the age of 88, the curtain also dropped on an influential yet seat-of-the-pants era in Bay Area avant-garde film. \u003c/p>\n\u003cp>A South Dakotan who studied in Minnesota, London and Yugoslavia, Baillie migrated here in the late ’50s and set about teaching himself cinematography and editing. In tandem with making films of uncommon beauty and grace, he founded \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Canyon Cinema\u003c/a> (to screen and eventually distribute his and fellow artists’ films) and co-founded \u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Cinematheque\u003c/a>.\u003c/p>\n\u003cp>“Immediately, I realized that making films and showing films must go hand in hand,” Baillie recalled in a 1989 conversation with experimental-film historian and critic Scott MacDonald, “so [in 1960] I got a job at Safeway, took out a loan and bought a projector. We got an army surplus screen and hung it up real nice in the backyard of this house we were renting. Then we’d find whatever films we could, including our own little things that were in progress—‘we,’ there wasn’t really any we, just me for a while—and show them.”\u003c/p>\n\u003cp>Baillie’s films evince his unique eye and sensibility yet generously allow ample room for the viewer’s experience. Revisit \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0060220\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Street\u003c/a>\u003c/em> (1966), shot largely in Richmond and redolent with train whistles and train tracks, evoking both night dreams and daydreams of an America to be explored \u003cem>just out there\u003c/em>. “For Baillie,” MacDonald wrote, “the filmstrip is a space where the physical world around him and the spiritual world within him can intersect.” \u003c/p>\n\u003cfigure id=\"attachment_13878833\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg\" alt=\"\" width=\"1320\" height=\"740\" class=\"size-full wp-image-13878833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-1020x572.jpg 1020w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karly Stark’s ‘the problem is that everything is fleeting,’ 2015. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Cinematheque, for its part, continues to champion the handmade films of avant-garde artists, and is one of several local institutions streaming new and recent work for free while theater spaces are shuttered. The short-film compilation \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/certainty-is-becoming-our-nemesis/\" rel=\"noopener noreferrer\" target=\"_blank\">certainty is becoming our nemesis\u003c/a>\u003c/em>, which screened in conjunction with the \u003cem>\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" rel=\"noopener noreferrer\" target=\"_blank\">Orlando\u003c/a>\u003c/em> exhibition curated by Tilda Swinton at McEvoy Foundation for the Arts until shelter-in-place orders went into effect, has moved online through May 2. From the morphing nude portraits of Alice Anne Parker’s \u003cem>Riverbody\u003c/em> (1970) to Karly Stark’s onscreen pondering of \u003cem>the problem is that everything is fleeting\u003c/em> (2015), the program embraces flux and fluidity—which makes it even more on point than curator Steve Polta could have imagined.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SF Cinematheque has also teamed with Yerba Buena Center for the Arts and Video Data Bank on \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/i-hate-the-internet/\" rel=\"noopener noreferrer\" target=\"_blank\">I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion\u003c/a>\u003c/em>, a program of apocalypse-now-and-in-the-future shorts, online through May 16. Jesse McLean’s \u003cem>The Invisible World\u003c/em> (2012), with its probing of our relationship to common household objects, may be especially poignant for viewers who catch themselves staring at a drawer of silverware or plastic wrap and contemplating the inner lives of inanimate objects.\u003c/p>\n\u003cp>SFMOMA has initiated a smattering of online screenings in its #MuseumFromHome program, with local sound-and-image artist Bill Fontana’s entrancing \u003cem>\u003ca href=\"http://www.sfmoma.org/watch/museumfromhome-online-screenings/\" rel=\"noopener noreferrer\" target=\"_blank\">White Motions\u003c/a>\u003c/em> (2017) (headphones essential!) on view through April 21. Bookmark the page as a different film goes up every Wednesday.\u003c/p>\n\u003cp>In lieu of its sadly canceled festival, which would otherwise be unspooling right now, SFFILM offers a couple of online options under the rubric “SFFILM at Home.” A veritable flock of filmmakers whose new work was scheduled to play the festival have recorded video profiles, which you can browse at \u003ca href=\"https://sffilm.org/meet-the-filmmakers/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Filmmakers\u003c/a>. If you’d rather hear moviemakers riff about films you’ve actually seen, SFFILM has also uploaded a trove of onstage interviews with actors and directors from \u003ca href=\"https://sffilm.org/from-the-archives/\" rel=\"noopener noreferrer\" target=\"_blank\">previous festivals\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13878835\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg\" alt=\"\" width=\"960\" height=\"499\" class=\"size-full wp-image-13878835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-768x399.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Saru Jayaraman at a rally against sexual harassment in Abby Ginzberg’s ‘Waging Change.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special treat for those who’ve read this far: Via its ongoing online Virtual Film Festival, the New York distributor Women Make Movies is streaming East Bay documentary maker Abby Ginzberg’s essential new film, \u003cem>Waging Change\u003c/em>, April 17–26. It’s part of this month’s \u003ca href=\"https://mailchi.mp/wmm/whm-virtual-film-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Films, Interrupted\u003c/a> series of new works whose festival premieres and theatrical launches were coronavirus casualties. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s Bay Area premiere—and key revenue stream—was scheduled for March 27 at the Castro, then bumped to May and pushed again to July 12. Check out the \u003ca href=\"http://wagingchange.com/trailer\" rel=\"noopener noreferrer\" target=\"_blank\">trailer\u003c/a>, watch the entire film for free thanks to Women Make Movies, then tip your server generously at the \u003ca href=\"http://wagingchange.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Waging Change\u003c/em> website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Bruce Baillie died on April 10 at his Washington state home at the age of 88, the curtain also dropped on an influential yet seat-of-the-pants era in Bay Area avant-garde film. \u003c/p>\n\u003cp>A South Dakotan who studied in Minnesota, London and Yugoslavia, Baillie migrated here in the late ’50s and set about teaching himself cinematography and editing. In tandem with making films of uncommon beauty and grace, he founded \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Canyon Cinema\u003c/a> (to screen and eventually distribute his and fellow artists’ films) and co-founded \u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Cinematheque\u003c/a>.\u003c/p>\n\u003cp>“Immediately, I realized that making films and showing films must go hand in hand,” Baillie recalled in a 1989 conversation with experimental-film historian and critic Scott MacDonald, “so [in 1960] I got a job at Safeway, took out a loan and bought a projector. We got an army surplus screen and hung it up real nice in the backyard of this house we were renting. Then we’d find whatever films we could, including our own little things that were in progress—‘we,’ there wasn’t really any we, just me for a while—and show them.”\u003c/p>\n\u003cp>Baillie’s films evince his unique eye and sensibility yet generously allow ample room for the viewer’s experience. Revisit \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0060220\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Street\u003c/a>\u003c/em> (1966), shot largely in Richmond and redolent with train whistles and train tracks, evoking both night dreams and daydreams of an America to be explored \u003cem>just out there\u003c/em>. “For Baillie,” MacDonald wrote, “the filmstrip is a space where the physical world around him and the spiritual world within him can intersect.” \u003c/p>\n\u003cfigure id=\"attachment_13878833\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg\" alt=\"\" width=\"1320\" height=\"740\" class=\"size-full wp-image-13878833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-1020x572.jpg 1020w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karly Stark’s ‘the problem is that everything is fleeting,’ 2015. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Cinematheque, for its part, continues to champion the handmade films of avant-garde artists, and is one of several local institutions streaming new and recent work for free while theater spaces are shuttered. The short-film compilation \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/certainty-is-becoming-our-nemesis/\" rel=\"noopener noreferrer\" target=\"_blank\">certainty is becoming our nemesis\u003c/a>\u003c/em>, which screened in conjunction with the \u003cem>\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" rel=\"noopener noreferrer\" target=\"_blank\">Orlando\u003c/a>\u003c/em> exhibition curated by Tilda Swinton at McEvoy Foundation for the Arts until shelter-in-place orders went into effect, has moved online through May 2. From the morphing nude portraits of Alice Anne Parker’s \u003cem>Riverbody\u003c/em> (1970) to Karly Stark’s onscreen pondering of \u003cem>the problem is that everything is fleeting\u003c/em> (2015), the program embraces flux and fluidity—which makes it even more on point than curator Steve Polta could have imagined.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF Cinematheque has also teamed with Yerba Buena Center for the Arts and Video Data Bank on \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/i-hate-the-internet/\" rel=\"noopener noreferrer\" target=\"_blank\">I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion\u003c/a>\u003c/em>, a program of apocalypse-now-and-in-the-future shorts, online through May 16. Jesse McLean’s \u003cem>The Invisible World\u003c/em> (2012), with its probing of our relationship to common household objects, may be especially poignant for viewers who catch themselves staring at a drawer of silverware or plastic wrap and contemplating the inner lives of inanimate objects.\u003c/p>\n\u003cp>SFMOMA has initiated a smattering of online screenings in its #MuseumFromHome program, with local sound-and-image artist Bill Fontana’s entrancing \u003cem>\u003ca href=\"http://www.sfmoma.org/watch/museumfromhome-online-screenings/\" rel=\"noopener noreferrer\" target=\"_blank\">White Motions\u003c/a>\u003c/em> (2017) (headphones essential!) on view through April 21. Bookmark the page as a different film goes up every Wednesday.\u003c/p>\n\u003cp>In lieu of its sadly canceled festival, which would otherwise be unspooling right now, SFFILM offers a couple of online options under the rubric “SFFILM at Home.” A veritable flock of filmmakers whose new work was scheduled to play the festival have recorded video profiles, which you can browse at \u003ca href=\"https://sffilm.org/meet-the-filmmakers/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Filmmakers\u003c/a>. If you’d rather hear moviemakers riff about films you’ve actually seen, SFFILM has also uploaded a trove of onstage interviews with actors and directors from \u003ca href=\"https://sffilm.org/from-the-archives/\" rel=\"noopener noreferrer\" target=\"_blank\">previous festivals\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13878835\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg\" alt=\"\" width=\"960\" height=\"499\" class=\"size-full wp-image-13878835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-768x399.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Saru Jayaraman at a rally against sexual harassment in Abby Ginzberg’s ‘Waging Change.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special treat for those who’ve read this far: Via its ongoing online Virtual Film Festival, the New York distributor Women Make Movies is streaming East Bay documentary maker Abby Ginzberg’s essential new film, \u003cem>Waging Change\u003c/em>, April 17–26. It’s part of this month’s \u003ca href=\"https://mailchi.mp/wmm/whm-virtual-film-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Films, Interrupted\u003c/a> series of new works whose festival premieres and theatrical launches were coronavirus casualties. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s Bay Area premiere—and key revenue stream—was scheduled for March 27 at the Castro, then bumped to May and pushed again to July 12. Check out the \u003ca href=\"http://wagingchange.com/trailer\" rel=\"noopener noreferrer\" target=\"_blank\">trailer\u003c/a>, watch the entire film for free thanks to Women Make Movies, then tip your server generously at the \u003ca href=\"http://wagingchange.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Waging Change\u003c/em> website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, “fake doctors” from our TV screens released a heartfelt but funny video, thanking real-life medical professionals everywhere.\u003c/p>\n\u003cp>The stars of \u003cem>House\u003c/em>, \u003cem>ER\u003c/em>, \u003cem>Scrubs\u003c/em>, \u003cem>Grey’s Anatomy\u003c/em>, \u003cem>Nurse Jackie\u003c/em> and \u003cem>The Good Doctor\u003c/em> stepped up to show appreciation. They each gave thanks to everyone “on the front lines”—including ER doctors, nurses, technicians, EMTs, first responders, administrators, cafeteria staff, cleaning staff, volunteers and carers—working unfathomably hard during the coronavirus crisis. [aside postid='arts_13877066']\u003c/p>\n\u003cp>The four-minute video has the distinction of succeeding where the now-infamous celebrity montage of “\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">Imagine\u003c/a>” did not. Firstly, it’s useful, offering clear directions at the end of the clip on how to pitch in to help real-life healthcare workers. Secondly, it’s funny! Mostly, it must be noted, because of the input of Neil Patrick Harris, who played the titular character in \u003cem>Doogie Howser, M.D.\u003c/em> between 1989 and 1993. Let’s just assume he’s joking about those fake prescriptions…\u003c/p>\n\u003cp>https://www.instagram.com/p/B-srqxSn3nl/\u003c/p>\n\u003cp>Healthcare workers around the country immediately flooded \u003ca href=\"https://www.instagram.com/tv/B-srqxSn3nl/\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Wilde’s Instagram page\u003c/a> with messages of thanks, after the \u003cem>House\u003c/em> star posted the video. One, @the_ram87, wrote: “Im an RN from Cali helping in NY and I love everything about this – totally just made my day!! 😍” Another, @duckmedic8 noted: “I’m a Paramedic down in Georgia and I greatly appreciate this video!! Much needed!! Stay Safe! ❤️🚑”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, “fake doctors” from our TV screens released a heartfelt but funny video, thanking real-life medical professionals everywhere.\u003c/p>\n\u003cp>The stars of \u003cem>House\u003c/em>, \u003cem>ER\u003c/em>, \u003cem>Scrubs\u003c/em>, \u003cem>Grey’s Anatomy\u003c/em>, \u003cem>Nurse Jackie\u003c/em> and \u003cem>The Good Doctor\u003c/em> stepped up to show appreciation. They each gave thanks to everyone “on the front lines”—including ER doctors, nurses, technicians, EMTs, first responders, administrators, cafeteria staff, cleaning staff, volunteers and carers—working unfathomably hard during the coronavirus crisis. \u003c/p>\u003c/div>",
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"content": "\u003cp>In the era of social distancing, few celebrities have carved out a social-media presence as appealing as those of Emily Blunt and John Krasinski. They’re married, so they get to share their isolation — and they’ve been filling the time with a kindhearted weekly YouTube show they call \u003cem>Some Good News\u003c/em>.\u003c/p>\n\u003cp>As the title suggests, it’s a roundup — anchored by Krasinski, with input from special guests — of day-brightening stories about people doing good in the world. The show’s \u003ca href=\"https://www.youtube.com/watch?v=oilZ1hNZPRM\" rel=\"noopener noreferrer\" target=\"_blank\">second episode\u003c/a>, which posted late Sunday, rolls along amiably enough until about midway through, when Krasinski welcomes a 9-year-old named Aubrey.\u003c/p>\n\u003cp>Inspired by a tweet expressing sadness that Aubrey would have to miss her much-anticipated trip to see \u003cem>Hamilton\u003c/em> on Broadway, Krasinski and Blunt informed a starstruck Aubrey that they’d be flying her to see the show once Broadway reopens. But then, given that Blunt starred in \u003cem>Mary Poppins Returns\u003c/em> with one Lin-Manuel Miranda, they decided to top themselves.\u003c/p>\n\u003cp>The moment you can secure a quick break, be sure to strap in for this 17-minute explosion of goodhearted joy, courtesy of the stars of \u003cem>A Quiet Place —\u003c/em> and the entire (socially distanced) original cast of \u003cem>Hamilton\u003c/em>. \u003ca href=\"https://youtu.be/oilZ1hNZPRM?t=10m30s\" rel=\"noopener noreferrer\" target=\"_blank\">Lin-Manuel Miranda comes in at the 10:30 mark\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Cast+Reunites+For+Emily+Blunt%2C+John+Krasinski+And+One+Lucky+9-Year-Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Lockdown Movie Musts: 1950s Hot Rods, Hellcats and He-Males",
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"content": "\u003cp>Welcome to Week Two of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*gestures wildly*) all this.\u003c/p>\n\u003cp>This week, daddy-o, we’re gonna beat feet with the cool cats down to the sock hop for some jivin’ and back seat bingo. That’s right! It’s 1950s teen rebellion movies! And they really do sound like this! [aside postid='arts_13877402']\u003c/p>\n\u003cp>Here, for example, is the very first conversation anyone has in 1958’s \u003ca href=\"https://www.imdb.com/title/tt0051741/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hot Rod Gang\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>Jake:\u003c/strong> I’m still convinced the half-drive centrifugal blower will get better power drive.\u003cbr>\n\u003cstrong>Girl 1:\u003c/strong> There he goes with that hot rod Esperanto again. Dissect that mechanical genius and I expect you’ll find spark plugs and multiple parts.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> And a super-charger instead of a heart. Maybe he’d give me a tumble if I was a drag wagon!\u003cbr>\n\u003cstrong>Johnny:\u003c/strong> He just doesn’t realize your potential horsepower outlet, baby, that’s all.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> All it takes is the right fuel mixture and my RPM reacts like crazy!\u003c/p>\n\u003cp>We’ll get back to these fantastically dressed idiots later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Let’s start instead, with \u003ca href=\"https://www.imdb.com/title/tt0051725/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High School Hellcats\u003c/em>\u003c/a>—a high school movie in which no one looks like they’re in high school. This tale concerns Joyce Martin (…pretty sure “Joyce” was 1958’s “Karen”…) who starts at a new school only to get corrupted by a gang of (*checks notes*) hellcats.\u003c/p>\n\u003cp>What we’re supposed to be worried about in this movie is the fact that the gang likes to drink alcohol, hang out in abandoned buildings, impersonate teachers and wear “slacks.” (You wouldn’t believe how much people talk about slacks in this thing!) Which is all rather confusing when there’s such a long list of things to be genuinely concerned about in \u003cem>High School Hellcats\u003c/em>.\u003c/p>\n\u003cp>Respectful of your time, I compiled a short list.\u003c/p>\n\u003col>\n\u003cli>Joyce’s dad is a sociopath. He talks angrily and often about her “tight sweaters” and lipstick, and when she enters the living room in a perfectly prim petticoat, he literally hits her in the face. Total sociopath.\u003c/li>\n\u003cli>Joyce’s love interest is a sociopath. He announces that Joyce is his “girl” approximately five minutes after meeting her, yells at her for having plans with other people, and—best of all!—when one of Joyce’s friends dies suddenly, he says she was “asking for it.” Total sociopath.\u003c/li>\n\u003cli>Everyone at Joyce’s school is a sociopath. In addition to playing party games in which screaming women get groped in the dark, they all abandon the dead body of one of their friends, stay silent about it while she lies undiscovered for a full week, \u003cem>and\u003c/em> lie through their teeth to the police about it! Total sociopaths.\u003c/li>\n\u003cli>Joyce has a raging eating disorder. She skips breakfast because she’s “watching her figure,” lies to her mother about eating dinner and consumes nothing but coffee with no sugar. (In all fairness, it’s no wonder, given all the sociopaths she’s dealing with…) Won’t somebody notice poor, starving Joyce’s cries for help?\u003c/li>\n\u003c/ol>\n\u003cp>https://www.youtube.com/watch?v=EjnJQj0Xt8I\u003c/p>\n\u003cp>It’s almost impossible to care about any of the sociopaths in \u003cem>High School Hellcats\u003c/em>, so the rebellious woman at the center of 1959’s \u003ca href=\"https://www.imdb.com/title/tt0052850/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls Town\u003c/em>\u003c/a> is a breath of fresh air by comparison.\u003c/p>\n\u003cp>Silver Morgan (played by Mamie Van Doren) smokes a lot and says things like, “Don’t flip your wig, I’ve got your signal!” and “Go flap your plates!” and, at one particularly baffling point, “Go bingle your bunk!” She refers to the phone as “the Alexander Graham,” and men as “studs,” “daddy-os” and “he-males.” At one point, she puts a potato in one of her stockings and uses it as a weapon.\u003c/p>\n\u003cp>Silver is ridiculous and awesome in equal measure.\u003c/p>\n\u003cp>Less awesome is Silver’s 15-year-old sister, Mary Lee, who fails to report it when the adult man who tries to rape her (in a horrifying opening scene I was \u003cem>not\u003c/em> prepared for) falls off a cliff and dies. Silver—despite being busy at the time seductively kissing a boy at a very surreal make-out party by the river—ends up getting the blame and being sent to a Catholic dormitory for girls.\u003c/p>\n\u003cp>The details of what follows in the rest of the movie really don’t matter much, but just know that there’s a drag race, a private eye, a couple of totally unnecessary musical interludes and, at one point, one girl describing holy water as “plain ordinary water with the hell boiled out of it.” Oh, and the ending is fantastically feminist, which didn’t make me sad.\u003c/p>\n\u003cp>Word of warning though. \u003ca href=\"https://en.wikipedia.org/wiki/Paul_Anka\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Anka\u003c/a> appears in \u003cem>Girls Town\u003c/em> as a dreamboat all the girls swoon and scream over. (One even tries to kill herself because he’s not her boyfriend.) There is no kind way of saying this, but, dude. Even in 1959, Paul Anka was decidedly \u003cem>not\u003c/em> a dreamboat. Watching everyone fawning over him on screen was super confusing until I looked up who he was in real life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jpzY4YCUZH8\u003c/p>\n\u003cp>Similarly confusing to contemporary audiences will be \u003cem>Hot Rod Gang\u003c/em>‘s obsession with Gene Vincent, who appears in the 1958 movie as himself, Gene Vincent. Even the kids in this movie who are supposed to be friends with Gene Vincent refer to him exclusively as “Gene Vincent” in full, lest anyone forget Gene Vincent is in this movie. Gene Vincent, Gene Vincent, Gene Vincent.\u003c/p>\n\u003cp>The movie is otherwise framed around Johnny, a car racin’ rock ‘n’ roller from a fancy family. One day, Johnny hits a puddle and splashes a fancy man from a different fancy family. That fancy man wants Johnny arrested, but instead accidentally introduces his fancy daughter to Johnny, which prompts the two fancy kids to fall in love. (If you’ve ever wanted to watch a movie about rebels in which no one is an underdog, \u003cem>Hot Rod Gang\u003c/em> is for you!)\u003c/p>\n\u003cp>Then, in an apparent bid to make the movie longer, Johnny dons a fake beard and beret and starts a music career with some help from Gene Vincent. (Did I mention Gene Vincent was in this?) There’s also some swing dancing, two fist fights and a stolen hubcap subplot that’s flimsy at best. We’ll leave you with a scene that combines this movie’s three greatest strengths: gratuitous dancing, self-conscious dialog and, yes, Gene Vincent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7leK7yitWeE\u003c/p>\n\u003cp>YouTube has a wealth of these ’50s teen flicks available for free. (I just did a random grab bag.) Knock yourselves out, hepcats.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here, for example, is the very first conversation anyone has in 1958’s \u003ca href=\"https://www.imdb.com/title/tt0051741/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hot Rod Gang\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>Jake:\u003c/strong> I’m still convinced the half-drive centrifugal blower will get better power drive.\u003cbr>\n\u003cstrong>Girl 1:\u003c/strong> There he goes with that hot rod Esperanto again. Dissect that mechanical genius and I expect you’ll find spark plugs and multiple parts.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> And a super-charger instead of a heart. Maybe he’d give me a tumble if I was a drag wagon!\u003cbr>\n\u003cstrong>Johnny:\u003c/strong> He just doesn’t realize your potential horsepower outlet, baby, that’s all.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> All it takes is the right fuel mixture and my RPM reacts like crazy!\u003c/p>\n\u003cp>We’ll get back to these fantastically dressed idiots later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let’s start instead, with \u003ca href=\"https://www.imdb.com/title/tt0051725/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High School Hellcats\u003c/em>\u003c/a>—a high school movie in which no one looks like they’re in high school. This tale concerns Joyce Martin (…pretty sure “Joyce” was 1958’s “Karen”…) who starts at a new school only to get corrupted by a gang of (*checks notes*) hellcats.\u003c/p>\n\u003cp>What we’re supposed to be worried about in this movie is the fact that the gang likes to drink alcohol, hang out in abandoned buildings, impersonate teachers and wear “slacks.” (You wouldn’t believe how much people talk about slacks in this thing!) Which is all rather confusing when there’s such a long list of things to be genuinely concerned about in \u003cem>High School Hellcats\u003c/em>.\u003c/p>\n\u003cp>Respectful of your time, I compiled a short list.\u003c/p>\n\u003col>\n\u003cli>Joyce’s dad is a sociopath. He talks angrily and often about her “tight sweaters” and lipstick, and when she enters the living room in a perfectly prim petticoat, he literally hits her in the face. Total sociopath.\u003c/li>\n\u003cli>Joyce’s love interest is a sociopath. He announces that Joyce is his “girl” approximately five minutes after meeting her, yells at her for having plans with other people, and—best of all!—when one of Joyce’s friends dies suddenly, he says she was “asking for it.” Total sociopath.\u003c/li>\n\u003cli>Everyone at Joyce’s school is a sociopath. In addition to playing party games in which screaming women get groped in the dark, they all abandon the dead body of one of their friends, stay silent about it while she lies undiscovered for a full week, \u003cem>and\u003c/em> lie through their teeth to the police about it! Total sociopaths.\u003c/li>\n\u003cli>Joyce has a raging eating disorder. She skips breakfast because she’s “watching her figure,” lies to her mother about eating dinner and consumes nothing but coffee with no sugar. (In all fairness, it’s no wonder, given all the sociopaths she’s dealing with…) Won’t somebody notice poor, starving Joyce’s cries for help?\u003c/li>\n\u003c/ol>\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/EjnJQj0Xt8I'\n title='//www.youtube.com/embed/EjnJQj0Xt8I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s almost impossible to care about any of the sociopaths in \u003cem>High School Hellcats\u003c/em>, so the rebellious woman at the center of 1959’s \u003ca href=\"https://www.imdb.com/title/tt0052850/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls Town\u003c/em>\u003c/a> is a breath of fresh air by comparison.\u003c/p>\n\u003cp>Silver Morgan (played by Mamie Van Doren) smokes a lot and says things like, “Don’t flip your wig, I’ve got your signal!” and “Go flap your plates!” and, at one particularly baffling point, “Go bingle your bunk!” She refers to the phone as “the Alexander Graham,” and men as “studs,” “daddy-os” and “he-males.” At one point, she puts a potato in one of her stockings and uses it as a weapon.\u003c/p>\n\u003cp>Silver is ridiculous and awesome in equal measure.\u003c/p>\n\u003cp>Less awesome is Silver’s 15-year-old sister, Mary Lee, who fails to report it when the adult man who tries to rape her (in a horrifying opening scene I was \u003cem>not\u003c/em> prepared for) falls off a cliff and dies. Silver—despite being busy at the time seductively kissing a boy at a very surreal make-out party by the river—ends up getting the blame and being sent to a Catholic dormitory for girls.\u003c/p>\n\u003cp>The details of what follows in the rest of the movie really don’t matter much, but just know that there’s a drag race, a private eye, a couple of totally unnecessary musical interludes and, at one point, one girl describing holy water as “plain ordinary water with the hell boiled out of it.” Oh, and the ending is fantastically feminist, which didn’t make me sad.\u003c/p>\n\u003cp>Word of warning though. \u003ca href=\"https://en.wikipedia.org/wiki/Paul_Anka\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Anka\u003c/a> appears in \u003cem>Girls Town\u003c/em> as a dreamboat all the girls swoon and scream over. (One even tries to kill herself because he’s not her boyfriend.) There is no kind way of saying this, but, dude. Even in 1959, Paul Anka was decidedly \u003cem>not\u003c/em> a dreamboat. Watching everyone fawning over him on screen was super confusing until I looked up who he was in real life.\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/jpzY4YCUZH8'\n title='//www.youtube.com/embed/jpzY4YCUZH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Similarly confusing to contemporary audiences will be \u003cem>Hot Rod Gang\u003c/em>‘s obsession with Gene Vincent, who appears in the 1958 movie as himself, Gene Vincent. Even the kids in this movie who are supposed to be friends with Gene Vincent refer to him exclusively as “Gene Vincent” in full, lest anyone forget Gene Vincent is in this movie. Gene Vincent, Gene Vincent, Gene Vincent.\u003c/p>\n\u003cp>The movie is otherwise framed around Johnny, a car racin’ rock ‘n’ roller from a fancy family. One day, Johnny hits a puddle and splashes a fancy man from a different fancy family. That fancy man wants Johnny arrested, but instead accidentally introduces his fancy daughter to Johnny, which prompts the two fancy kids to fall in love. (If you’ve ever wanted to watch a movie about rebels in which no one is an underdog, \u003cem>Hot Rod Gang\u003c/em> is for you!)\u003c/p>\n\u003cp>Then, in an apparent bid to make the movie longer, Johnny dons a fake beard and beret and starts a music career with some help from Gene Vincent. (Did I mention Gene Vincent was in this?) There’s also some swing dancing, two fist fights and a stolen hubcap subplot that’s flimsy at best. We’ll leave you with a scene that combines this movie’s three greatest strengths: gratuitous dancing, self-conscious dialog and, yes, Gene Vincent.\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/7leK7yitWeE'\n title='//www.youtube.com/embed/7leK7yitWeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>YouTube has a wealth of these ’50s teen flicks available for free. (I just did a random grab bag.) Knock yourselves out, hepcats.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1970s Roller Disco Movies (No, Really)",
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"content": "\u003cp>Picture it: Patrick Swayze in bell bottoms and a leather vest (no shirt, naturally), waving his own belt around like a whip while doing a dance routine on roller skates. He spins on his knees \u003cem>and\u003c/em> butt! He kicks—front, back, side—because he’s a wild man! He even does something approaching jump rope! (You kind of have to see it to comprehend it.)\u003c/p>\n\u003cp>This is but one three-minute scene from 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079912/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skatetown USA\u003c/em>\u003c/a>—a gift of a movie that forces the viewer to ask “Was this \u003cem>ever\u003c/em> cool?” and “Really though?” repeatedly, throughout.\u003c/p>\n\u003cp>The movie’s pun-tastic trailer tantalizingly promises that it’s “The greatest story ever rolled.” While I can categorically confirm that this is an outright lie (and also that the film contains a shocking amount of female objectification), it\u003cem> is\u003c/em> almost impossible to have a bad time watching this damn thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2oOWydfiy-I&list=PLgtTy63SfSacRP7okouXg_VEworQFKn2L\u003c/p>\n\u003cp>Allow me to backtrack for a moment. A month ago, if you plopped me down in front of a TV for a few hours, I would more than likely be watching true crime rehashings, documentaries about cults, and post-apocalyptic sci-fi doom in which my favorite characters could die at any moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But that was 2020 BC*. (*Before Coronavirus.)\u003c/p>\n\u003cp>Once lockdown kicked in, anxiety and insomnia quickly followed, and I was forced to seek out any and all media that would take my mind off the worldwide nightmare unfolding. (Previously, I would have simply turned to my old pal \u003ca href=\"https://www.youtube.com/watch?v=7rO7QMlCh6Q\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Friends\u003c/em>\u003c/a>, but Netflix took that away at the dawn of 2020—a harbinger of doom to start the year, now that I think about it.)\u003c/p>\n\u003cp>So now—I won’t bore you with the steps of exactly how I got here—I’m neck-deep in roller disco movies, and desperate to drag everyone else down into the sequined maelstrom with me. Partly because it’s less awkward than being in here alone, and partly because I genuinely think other people need to see this. (Not in a majestic \u003ca href=\"https://www.youtube.com/watch?v=tiVNk6_0GdY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Planet Earth\u003c/em>\u003c/a> sort of way; more like a monkey smoking cigarettes in the 1930s kinda thing. You know this sort of thing happened, but you don’t truly believe it until you see it for yourself.)\u003c/p>\n\u003cp>Anyway! Here’s the plot of \u003cem>Skatetown USA\u003c/em>: People like to roller skate at a roller rink. Two male skaters—Ace, the first bad guy in history to wear a bedazzled pink crop top, and Stan, a good guy who dresses \u003cem>exactly\u003c/em> like Flash Gordon—both want to win a roller skating competition.\u003c/p>\n\u003cp>That’s it. That’s the whole plot.\u003c/p>\n\u003cp>Sure, there’s some judge blackmail, and some girls, and some Scott Baio business, but the edgiest this movie gets is when a guy dressed as Uncle Sam (stars and stripes, top hat and all) gets light shined in his eyes mid-roller skate routine and falls over. (There is also a game of chicken on motorized roller skates, but I won’t spoil that for you.)\u003c/p>\n\u003cp>\u003cem>Skatetown USA\u003c/em> is absolutely amazing viewing (\u003ca href=\"https://www.dictionary.com/browse/amazing?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">amazing\u003c/a> in the literal sense of the word) in a time of global crisis. So naturally, after watching it, I immediately turned to its partner in 1979 cinematic crime, \u003ca href=\"https://www.imdb.com/title/tt0079822/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Roller Boogie\u003c/em>\u003c/a>. I initially (foolishly) presumed that it might have a little more substance. Especially since it stars everyone’s favorite \u003ca href=\"https://www.youtube.com/watch?v=sZazSFEHfg8\" target=\"_blank\" rel=\"noopener noreferrer\">demon-child, Linda Blair\u003c/a>, in the lead roll. (\u003cem>See what I did there?\u003c/em>)\u003c/p>\n\u003cp>However, much to my joy, \u003cem>Roller Boogie\u003c/em> is just as gloriously, mind-numbingly stupid as \u003cem>Skatetown USA\u003c/em>. Linda Blair—most famous for shouting “Your mother sucks c–ks in hell” at a priest—here wears special skates that look like they don’t have any laces, along with a series of rad leotards, one of which is white with tassels.\u003c/p>\n\u003cp>Every single thing that happens in this film is ridiculous. Just watch the opening sequence if you need evidence. (You’ll never look at Venice Beach or dumpster-based make-out sessions the same way again.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b0cEF_p8KT8\u003c/p>\n\u003cp>(And yes, since you ask, that \u003cem>is\u003c/em> Cher singing. The song was called “Hell on Wheels” and it peaked at only number 59 on the Billboard charts, despite Cher doing some excellent \u003ca href=\"https://www.youtube.com/watch?v=rW_kIlaU41Y\" target=\"_blank\" rel=\"noopener noreferrer\">roller skating in some excellent cycling shorts\u003c/a> in the video. You’re welcome!)\u003c/p>\n\u003cp>One of the fun things about \u003cem>Roller Boogie\u003c/em> is that the stakes are even lower than they were in \u003cem>Skatetown USA\u003c/em>—and that’s quite a feat. The plot to \u003cem>Roller Boogie\u003c/em> goes like this: Terry (fancy girl) and Bobby (unfancy boy) want to win a roller skating contest. So they do.\u003c/p>\n\u003cp>That’s it. That’s the end.\u003c/p>\n\u003cp>The most tension I felt watching this thing was concern over whether or not Linda Blair could actually roller skate, since I’m fairly sure no one bothered to teach her. Mostly what happens when she’s wearing skates is that she’s either physically dragged along by someone else, or a body double skates from far away, or Bobby picks her up and she just planks all over him.\u003c/p>\n\u003cp>Please do not underestimate how mesmerizing it is to watch Bobby, the stunt double and Linda’s white tassels do all the hard work for Linda. Just look how much she is \u003cem>not\u003c/em> skating here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SzN46y_kS_Y\u003c/p>\n\u003cp>It would be remiss, of course, for me to talk about roller skating movies of this period without bringing up the most famous of them all: \u003cem>Xanadu\u003c/em>. \u003cem>Xanadu\u003c/em> is my least favorite of the bunch (despite it featuring a pair of knee-high roller skates) specifically because it has something approaching a plot.\u003c/p>\n\u003cp>Sure, it’s a plot about an Olivia Newton-John-shaped painting coming to life, and an artist dude teaming up with Gene Kelly to open a club, but a plot it unmistakably is. (For some utterly baffling reason, this movie thinks that Club Owner is a nicer job than Artist.) To make matters worse, this movie is packed to the gills with song and dance numbers that make you feel like you ate shrooms. People living inside walls, arguing with God, turning into cartoons—it’s a total nightmare from start to finish.\u003c/p>\n\u003cp>Don’t get me started on how many of these dance numbers don’t even include roller skates. Just look at this mess:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jG-ElxxSU5E\u003c/p>\n\u003cp>In the end, it doesn’t matter if you love or hate any of these movies. (I definitely hated \u003cem>Xanadu\u003c/em>.) What matters is that all three have the miraculous ability to take you out of reality for a few hours. And, at this point, that’s even more magical than a shirtless Patrick Swayze at a roller rink.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Trying to turn your brain off in a life-threatening global crisis? 'Skatetown USA,' 'Roller Boogie' and 'Xanadu' are here to help!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture it: Patrick Swayze in bell bottoms and a leather vest (no shirt, naturally), waving his own belt around like a whip while doing a dance routine on roller skates. He spins on his knees \u003cem>and\u003c/em> butt! He kicks—front, back, side—because he’s a wild man! He even does something approaching jump rope! (You kind of have to see it to comprehend it.)\u003c/p>\n\u003cp>This is but one three-minute scene from 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079912/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skatetown USA\u003c/em>\u003c/a>—a gift of a movie that forces the viewer to ask “Was this \u003cem>ever\u003c/em> cool?” and “Really though?” repeatedly, throughout.\u003c/p>\n\u003cp>The movie’s pun-tastic trailer tantalizingly promises that it’s “The greatest story ever rolled.” While I can categorically confirm that this is an outright lie (and also that the film contains a shocking amount of female objectification), it\u003cem> is\u003c/em> almost impossible to have a bad time watching this damn thing.\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/2oOWydfiy-I'\n title='//www.youtube.com/embed/2oOWydfiy-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Allow me to backtrack for a moment. A month ago, if you plopped me down in front of a TV for a few hours, I would more than likely be watching true crime rehashings, documentaries about cults, and post-apocalyptic sci-fi doom in which my favorite characters could die at any moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that was 2020 BC*. (*Before Coronavirus.)\u003c/p>\n\u003cp>Once lockdown kicked in, anxiety and insomnia quickly followed, and I was forced to seek out any and all media that would take my mind off the worldwide nightmare unfolding. (Previously, I would have simply turned to my old pal \u003ca href=\"https://www.youtube.com/watch?v=7rO7QMlCh6Q\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Friends\u003c/em>\u003c/a>, but Netflix took that away at the dawn of 2020—a harbinger of doom to start the year, now that I think about it.)\u003c/p>\n\u003cp>So now—I won’t bore you with the steps of exactly how I got here—I’m neck-deep in roller disco movies, and desperate to drag everyone else down into the sequined maelstrom with me. Partly because it’s less awkward than being in here alone, and partly because I genuinely think other people need to see this. (Not in a majestic \u003ca href=\"https://www.youtube.com/watch?v=tiVNk6_0GdY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Planet Earth\u003c/em>\u003c/a> sort of way; more like a monkey smoking cigarettes in the 1930s kinda thing. You know this sort of thing happened, but you don’t truly believe it until you see it for yourself.)\u003c/p>\n\u003cp>Anyway! Here’s the plot of \u003cem>Skatetown USA\u003c/em>: People like to roller skate at a roller rink. Two male skaters—Ace, the first bad guy in history to wear a bedazzled pink crop top, and Stan, a good guy who dresses \u003cem>exactly\u003c/em> like Flash Gordon—both want to win a roller skating competition.\u003c/p>\n\u003cp>That’s it. That’s the whole plot.\u003c/p>\n\u003cp>Sure, there’s some judge blackmail, and some girls, and some Scott Baio business, but the edgiest this movie gets is when a guy dressed as Uncle Sam (stars and stripes, top hat and all) gets light shined in his eyes mid-roller skate routine and falls over. (There is also a game of chicken on motorized roller skates, but I won’t spoil that for you.)\u003c/p>\n\u003cp>\u003cem>Skatetown USA\u003c/em> is absolutely amazing viewing (\u003ca href=\"https://www.dictionary.com/browse/amazing?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">amazing\u003c/a> in the literal sense of the word) in a time of global crisis. So naturally, after watching it, I immediately turned to its partner in 1979 cinematic crime, \u003ca href=\"https://www.imdb.com/title/tt0079822/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Roller Boogie\u003c/em>\u003c/a>. I initially (foolishly) presumed that it might have a little more substance. Especially since it stars everyone’s favorite \u003ca href=\"https://www.youtube.com/watch?v=sZazSFEHfg8\" target=\"_blank\" rel=\"noopener noreferrer\">demon-child, Linda Blair\u003c/a>, in the lead roll. (\u003cem>See what I did there?\u003c/em>)\u003c/p>\n\u003cp>However, much to my joy, \u003cem>Roller Boogie\u003c/em> is just as gloriously, mind-numbingly stupid as \u003cem>Skatetown USA\u003c/em>. Linda Blair—most famous for shouting “Your mother sucks c–ks in hell” at a priest—here wears special skates that look like they don’t have any laces, along with a series of rad leotards, one of which is white with tassels.\u003c/p>\n\u003cp>Every single thing that happens in this film is ridiculous. Just watch the opening sequence if you need evidence. (You’ll never look at Venice Beach or dumpster-based make-out sessions the same way again.)\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/b0cEF_p8KT8'\n title='//www.youtube.com/embed/b0cEF_p8KT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(And yes, since you ask, that \u003cem>is\u003c/em> Cher singing. The song was called “Hell on Wheels” and it peaked at only number 59 on the Billboard charts, despite Cher doing some excellent \u003ca href=\"https://www.youtube.com/watch?v=rW_kIlaU41Y\" target=\"_blank\" rel=\"noopener noreferrer\">roller skating in some excellent cycling shorts\u003c/a> in the video. You’re welcome!)\u003c/p>\n\u003cp>One of the fun things about \u003cem>Roller Boogie\u003c/em> is that the stakes are even lower than they were in \u003cem>Skatetown USA\u003c/em>—and that’s quite a feat. The plot to \u003cem>Roller Boogie\u003c/em> goes like this: Terry (fancy girl) and Bobby (unfancy boy) want to win a roller skating contest. So they do.\u003c/p>\n\u003cp>That’s it. That’s the end.\u003c/p>\n\u003cp>The most tension I felt watching this thing was concern over whether or not Linda Blair could actually roller skate, since I’m fairly sure no one bothered to teach her. Mostly what happens when she’s wearing skates is that she’s either physically dragged along by someone else, or a body double skates from far away, or Bobby picks her up and she just planks all over him.\u003c/p>\n\u003cp>Please do not underestimate how mesmerizing it is to watch Bobby, the stunt double and Linda’s white tassels do all the hard work for Linda. Just look how much she is \u003cem>not\u003c/em> skating here:\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/SzN46y_kS_Y'\n title='//www.youtube.com/embed/SzN46y_kS_Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It would be remiss, of course, for me to talk about roller skating movies of this period without bringing up the most famous of them all: \u003cem>Xanadu\u003c/em>. \u003cem>Xanadu\u003c/em> is my least favorite of the bunch (despite it featuring a pair of knee-high roller skates) specifically because it has something approaching a plot.\u003c/p>\n\u003cp>Sure, it’s a plot about an Olivia Newton-John-shaped painting coming to life, and an artist dude teaming up with Gene Kelly to open a club, but a plot it unmistakably is. (For some utterly baffling reason, this movie thinks that Club Owner is a nicer job than Artist.) To make matters worse, this movie is packed to the gills with song and dance numbers that make you feel like you ate shrooms. People living inside walls, arguing with God, turning into cartoons—it’s a total nightmare from start to finish.\u003c/p>\n\u003cp>Don’t get me started on how many of these dance numbers don’t even include roller skates. Just look at this mess:\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/jG-ElxxSU5E'\n title='//www.youtube.com/embed/jG-ElxxSU5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, it doesn’t matter if you love or hate any of these movies. (I definitely hated \u003cem>Xanadu\u003c/em>.) What matters is that all three have the miraculous ability to take you out of reality for a few hours. And, at this point, that’s even more magical than a shirtless Patrick Swayze at a roller rink.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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