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"content": "\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\n\u003cp>https://youtu.be/Po7eU4xo54w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\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/Po7eU4xo54w'\n title='//www.youtube.com/embed/Po7eU4xo54w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Sister Act\u003c/strong>: This Whoopi Goldberg-starring film was shot in San Francisco—Noe Valley, to be precise—in 1991. The journalist Peter Hartlaub from the \u003cem>San Francisco Chronicle\u003c/em> has spent his past few weeks \u003ca href=\"https://www.sfchronicle.com/culture/article/Sister-Act-transformed-Noe-Valley-into-a-14865742.php\" rel=\"noopener noreferrer\" target=\"_blank\">obsessively finding the exact filming locations\u003c/a> of the movie. You won’t recognize a lot of the neighborhood in the movie—the crew even transformed a corner real estate building into an X-rated adult bookstore for the film—but that’s part of the fun. Hartlaub and his colleague Heather Knight host a screening of \u003cem>Sister Act\u003c/em> next week, with two opening acts: a bagpipe player, and the official 2019 Cable Car Bell ringing champion. That’s on Thursday, Dec. 5, at the Balboa Theater in San Francisco. \u003ca href=\"https://ticketing.us.veezi.com/purchase/2786?siteToken=52wkfzmjpwjjfpz3ye7tz8wscg\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Pharoah Sanders\u003c/strong>: This 79-year-old jazz legend is immediately recognizable for his viscerally abrasive, ever-searching style of tenor saxophone, an inimitable voice honed in the Sun Ra Arkestra and John Coltrane ensembles before leading his own groups. As a bandleader in the late 1960s, Sanders continued exploring free and spiritual jazz on a staggering run of albums for the Impulse! label, by turns intoning peace with wounded lyricism and reveling in explosive, anguished intensity. Sanders last played the Bay Area in 2017, part of a program recognizing Coltrane, and returns with the same collaborators—pianist William Henderson, bassist Nat Reeves and drummer Johnathan Blake—for two sets a night on Friday and Saturday, Nov. 29 and 30, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/calendar/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Ghost Ship Memorial\u003c/strong>: It’s been three years since the Ghost Ship warehouse fire in Oakland that took the lives of 36 people at an underground show. Many of them were musicians and artists, and each year, to remember them, there’ve been memorial concerts and special gatherings. The one this Sunday is both: an art show of work by artists who died at Ghost Ship, and a concert by the chamber choral ensemble Voices of Silicon Valley, who will be joined by two bands whose members were close with people who died in the Ghost Ship fire: Abandoned Footwear and Marmot. That’s on Sunday, Dec. 1, at the Lake Merritt United Methodist Church in Oakland. \u003ca href=\"https://www.voices-sv.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tune-Yards Listening Party\u003c/strong>: Bar Shiru opened this year in Oakland as the Bay Area’s first Japanese-style hi-fi bar, meaning it has a really nice analog sound-system and people are supposed to be quiet. Tune-Yards, the local indie-rock group, created the distinct score for Boots Riley’s funny, provocative Oakland-set film \u003cem>Sorry to Bother You\u003c/em>, and they’re hosting a listening party for it at Bar Shiru alongside a DJ set by Boots himself. This event, in keeping with Boots’ activism and the movie’s political themes, is a fundraiser. The proceeds benefit Moms 4 Housing, a group of homeless women who are occupying an empty investor-owned home in West Oakland, without permission, to protest the housing crisis. That’s Sunday, Dec. 1, at 2pm, at Bar Shiru in Oakland. \u003ca href=\"https://www.barshiru.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"title": "Now Playing! Another Hole in the Head Concocts a Holiday Antidote",
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"content": "\u003cp>Family reunions, stuffing overdoses, Black Friday hysteria and gift-shopping frenzy: the holiday season is upon us. And, reassuringly, so is the \u003ca href=\"https://www.ahith.com\" rel=\"noopener noreferrer\" target=\"_blank\">Another Hole in the Head Film Festival\u003c/a>, the annual compendium of weird horror, fantasy and science fiction flicks playing at New People Cinema, Dec. 1–15. It may be counterintuitive to schedule a slate of cinematic nightmares amid the peak-decibel ballyhoo of goodwill to all, but it’s oddly comforting, as well.\u003c/p>\n\u003cp>Opening day (Sunday, Dec. 1) dawns with three programs of shorts, beginning with a compilation of 10 local films at 10:30am followed by a Q&A with the makers. The centerpiece is \u003cem>Pirate Ship\u003c/em>, R.A. Morgan’s poignantly \u003ca href=\"https://youtu.be/cGKv6QErlwE\" rel=\"noopener noreferrer\" target=\"_blank\">personal memory trip\u003c/a> through ’80s San Francisco. Local writer-director Michael Meehan grabs the spotlight at 5pm with \u003cem>Hey Monster, Hands Off My City\u003c/em>, a laugh-and-crime-filled satire featuring Johnny Steele, Reggie Steele, Michael Pritchard and other luminaries of the Bay Area community of comedians.\u003c/p>\n\u003cp>AHITH hosts the world premiere of another quintessentially local feature, Scott J. Ramsey and Hannah Katherine Jost’s sexually charged \u003cem>X\u003c/em> (Tuesday, Dec. 3 at 9pm). A philanthropic lesbian stages monthly masked orgies, but the reappearance of an old flame puts those power trips at risk. A blast from the past, Christopher Coppola’s wryly unsettling 2000 drama \u003cem>Bel Air\u003c/em> (Dec. 5 at 7pm) casts his brother Marc as a former child TV star perused, used and abused by an older woman (Barbara Bain).\u003c/p>\n\u003cp>Fame is a nasty addiction, and one of the toughest to kick. Presumably Coppola has advised his film students at the San Francisco Art Institute to be careful what they wish for. Their nightmare scenarios—stocking stuffers, if you will—screen Tuesday, Dec. 5 at 9pm, immediately after \u003cem>Bel Air\u003c/em>. Sleep tight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Family reunions, stuffing overdoses, Black Friday hysteria and gift-shopping frenzy: the holiday season is upon us. And, reassuringly, so is the \u003ca href=\"https://www.ahith.com\" rel=\"noopener noreferrer\" target=\"_blank\">Another Hole in the Head Film Festival\u003c/a>, the annual compendium of weird horror, fantasy and science fiction flicks playing at New People Cinema, Dec. 1–15. It may be counterintuitive to schedule a slate of cinematic nightmares amid the peak-decibel ballyhoo of goodwill to all, but it’s oddly comforting, as well.\u003c/p>\n\u003cp>Opening day (Sunday, Dec. 1) dawns with three programs of shorts, beginning with a compilation of 10 local films at 10:30am followed by a Q&A with the makers. The centerpiece is \u003cem>Pirate Ship\u003c/em>, R.A. Morgan’s poignantly \u003ca href=\"https://youtu.be/cGKv6QErlwE\" rel=\"noopener noreferrer\" target=\"_blank\">personal memory trip\u003c/a> through ’80s San Francisco. Local writer-director Michael Meehan grabs the spotlight at 5pm with \u003cem>Hey Monster, Hands Off My City\u003c/em>, a laugh-and-crime-filled satire featuring Johnny Steele, Reggie Steele, Michael Pritchard and other luminaries of the Bay Area community of comedians.\u003c/p>\n\u003cp>AHITH hosts the world premiere of another quintessentially local feature, Scott J. Ramsey and Hannah Katherine Jost’s sexually charged \u003cem>X\u003c/em> (Tuesday, Dec. 3 at 9pm). A philanthropic lesbian stages monthly masked orgies, but the reappearance of an old flame puts those power trips at risk. A blast from the past, Christopher Coppola’s wryly unsettling 2000 drama \u003cem>Bel Air\u003c/em> (Dec. 5 at 7pm) casts his brother Marc as a former child TV star perused, used and abused by an older woman (Barbara Bain).\u003c/p>\n\u003cp>Fame is a nasty addiction, and one of the toughest to kick. Presumably Coppola has advised his film students at the San Francisco Art Institute to be careful what they wish for. Their nightmare scenarios—stocking stuffers, if you will—screen Tuesday, Dec. 5 at 9pm, immediately after \u003cem>Bel Air\u003c/em>. Sleep tight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been two weeks since AfroTech has come and gone in Oakland, and I’m still hearing things about it—some good, and some not so good.\u003c/p>\n\u003cp>In fact, on \u003ca href=\"https://www.facebook.com/events/571621730266616/\">Thursday, Nov. 21\u003c/a>, The Town Experience hosts an open forum from 5:30pm–7:30pm at the Uptown in Oakland for people to share their experiences. Charlese Banks of The Town Experience is the lead organizer of the upcoming forum, which AfroTech management says they’ll use to inform next year’s conference.\u003c/p>\n\u003cp>“The demand for something like this was high,” says Banks. “So we’re going to have a constructive feedback session.”\u003c/p>\n\u003cp>That’s good, because for the past few days, the conversation has been living rent-free inside of my head.\u003c/p>\n\u003cp>The conference, which aims to connect the black community with the tech industry, was a beautiful gathering with thousands of people in attendance. \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/He-s-working-to-diversify-the-tech-industry-14833097.php\" target=\"_blank\" rel=\"noopener noreferrer\">Students from local schools\u003c/a> were represented, Congresswoman Barbara Lee was honored for her work and \u003ca href=\"https://www.kqed.org/forum/2010101874437/bernard-tyson-ceo-of-kaiser-permanente-dies-at-60\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard J. Tyson\u003c/a>, the first African American chief executive officer of Kaiser Permanente, spoke just hours before he passed in his sleep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the streets just outside of the conference, brown-skinned women in yellow blazers with long curly locs walked past dark-skinned men in collard shirts with deep waves. I hadn’t seen that many black folks concentrated at one spot in Oakland since \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ’n While Black\u003c/a>. Walking around at night, I saw groups of black folks trickling into a private event at Plank in Jack London Square, packed house-party-style inside of Miss Ollies in Old Oakland and circled-up at the bar inside of 7th West.\u003c/p>\n\u003cfigure id=\"attachment_13870003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg\" alt=\"At the West Oakland Youth Center, young people making video games with assistance from the Hidden Genius Project and The David Glover Digital Technology Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the West Oakland Youth Center, young people making video games with assistance from the The Hidden Genius Project and The David Glover Digital Technology Center. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, before the official start of the conference, I stopped by the West Oakland Youth Center, where folks from the \u003ca href=\"https://www.degetc.org/\">David Glover Emerging Technology Center\u003c/a> and \u003ca href=\"http://www.hiddengeniusproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Hidden Genius Project\u003c/a> had teamed up with the\u003ca href=\"https://www.fam1stfamilyfoundation.org/\"> Fam1st Family Foundation\u003c/a> to hold a coding workshop for a bouncy group of preteen boys and girls, all of them African American.\u003c/p>\n\u003cp>“We’re here doing this all the time,” said Akeem Brown, Program Director with The Hidden Genius Project. They meet there regularly, every Tuesday and Thursday, AfroTech or not.\u003c/p>\n\u003cp>It was like a sitcom the way he finished his sentence and not even a minute later, a guy named Tony walked in the youth center—black luggage bag on wheels in tow—fresh off the airplane from Los Angeles. He said he was in town for the conference, and wanted to apply for a job with The Hidden Genius Project.\u003c/p>\n\u003cp>And so the conference was a job fair, technical workshop and family reunion all in one. As The Hidden Genius Project’s Executive Director Brandon Nicholson told me, “It’s just like Howard Homecoming.”\u003c/p>\n\u003cp>I could see that.\u003c/p>\n\u003cp>The black working class and middle class, coming together to strive for further upward mobility and simultaneously celebrate black excellence… all while some disenfranchised locals feel overlooked. That’s how it was when I was at Howard University. That’s how some felt about AfroTech.\u003c/p>\n\u003cp>Despite the free community stage and open workshops, it was the closed sessions, private clubs and $450 conference ticket price that left a number of people feeling like it wasn’t for them.\u003c/p>\n\u003cp>A few people told me in person, while others left comments on chat boards. And then there was this thread attached to\u003ca href=\"https://twitter.com/OGpenn/status/1192926822771478528?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> a tweet\u003c/a> I posted during the conference.\u003c/p>\n\u003cp>Right before I left AfroTech in Old Oakland on Friday, I talked to a guy named Ron, an unsheltered guy who lives on the corner of Eighth & Clay Streets with his partner. I simply asked him if he’d seen any changes in the way he’s been treated this weekend, given there was a conference celebrating black excellence in the extremely lucrative field of technology, right there in his backyard. “Na, they step over me just like everyone else,” Ron told me.\u003c/p>\n\u003cp>I tweeted the interaction out. It ruffled a few feathers, for better or worse.\u003c/p>\n\u003cfigure id=\"attachment_13870017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png\" alt=\"A sound response. \" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sound response.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t a shot at AfroTech, or even a commentary on the attendees. It was just an observation; a note about the conflicting juxtaposition I’d just witnessed.\u003c/p>\n\u003cp>I mean, on one hand, you’ve got people talking about how \u003ca href=\"https://twitter.com/awholecatfish/status/1192915445801635840?s=20\">AfroTech had downtown Oakland looking like Wakanda\u003c/a>.\u003c/p>\n\u003cp>And on the other hand, here’s Ron, a homeless African American man. In a place where \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70% of the unsheltered people are African American\u003c/a>. A place that’s currently going through a homeless crisis that the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a> has called “cruel and inhuman.”\u003c/p>\n\u003cp>A place where, literally as AfroTech was going on, a group of unsheltered people were \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/Longtime-Oakland-residents-now-homeless-14815555.php\">evicted from an encampment\u003c/a>—many of them African American Oakland natives.\u003c/p>\n\u003cp>And days later, as I type this, Dominique Walker and Sameerah Karim, two African American mothers associated with the group \u003ca href=\"https://twitter.com/moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, have commandeered a vacant house in West Oakland that was foreclosed on and then purchased by \u003ca href=\"https://protect-us.mimecast.com/s/qw-mCADmygF91V0nh8YBoy?domain=wedgewood-inc.com\" target=\"_blank\" rel=\"noopener noreferrer\">Wedgewood Properties.\u003c/a>\u003c/p>\n\u003cp>It’s drastic times in the town right now when it comes to black folks and housing. And I can’t stop thinking about it. Reading about it. Researching.\u003c/p>\n\u003cp>A further illustration of the point about race and class: between 2008-2017, the median annual household income of black residents moving into the Bay Area was approximately 42% higher than that of black residents moving out of the Bay Area, according to Issi Romem, founder and director of \u003ca href=\"https://www.metrosight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MetroSight\u003c/a>, a consulting firm which provides research and analysis into city data.\u003c/p>\n\u003cp>Meanwhile, over that same 10-year period, the Bay Area had more black residents leave (about 149,000) than arrive (about 109,000).\u003c/p>\n\u003cp>In other words, there’s more black folks going than coming. And those who are coming to the Bay Area have deeper pockets.\u003c/p>\n\u003cp>What can be done?\u003c/p>\n\u003cp>I in no way think homelessness is a byproduct of AfroTech. Nor is it the immediate responsibility of the attendees. But there’s a clear opportunity for something to be done, something that bridges the overwhelming amount of unsheltered black folks on the streets of the Bay Area and African Americans in tech—an industry that’s exacerbated the cost of living in the Bay Area, and one of the many driving forces, along with lack of government oversight and greedy developers, pushing gentrification in this region.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>People in the Bay Area are working every day to solve this problem. Hopefully before next year’s AfroTech, something significant can be done. Because bruh, I don’t recall seeing any unsheltered folks being stepped over in Wakanda.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been two weeks since AfroTech has come and gone in Oakland, and I’m still hearing things about it—some good, and some not so good.\u003c/p>\n\u003cp>In fact, on \u003ca href=\"https://www.facebook.com/events/571621730266616/\">Thursday, Nov. 21\u003c/a>, The Town Experience hosts an open forum from 5:30pm–7:30pm at the Uptown in Oakland for people to share their experiences. Charlese Banks of The Town Experience is the lead organizer of the upcoming forum, which AfroTech management says they’ll use to inform next year’s conference.\u003c/p>\n\u003cp>“The demand for something like this was high,” says Banks. “So we’re going to have a constructive feedback session.”\u003c/p>\n\u003cp>That’s good, because for the past few days, the conversation has been living rent-free inside of my head.\u003c/p>\n\u003cp>The conference, which aims to connect the black community with the tech industry, was a beautiful gathering with thousands of people in attendance. \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/He-s-working-to-diversify-the-tech-industry-14833097.php\" target=\"_blank\" rel=\"noopener noreferrer\">Students from local schools\u003c/a> were represented, Congresswoman Barbara Lee was honored for her work and \u003ca href=\"https://www.kqed.org/forum/2010101874437/bernard-tyson-ceo-of-kaiser-permanente-dies-at-60\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard J. Tyson\u003c/a>, the first African American chief executive officer of Kaiser Permanente, spoke just hours before he passed in his sleep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the streets just outside of the conference, brown-skinned women in yellow blazers with long curly locs walked past dark-skinned men in collard shirts with deep waves. I hadn’t seen that many black folks concentrated at one spot in Oakland since \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ’n While Black\u003c/a>. Walking around at night, I saw groups of black folks trickling into a private event at Plank in Jack London Square, packed house-party-style inside of Miss Ollies in Old Oakland and circled-up at the bar inside of 7th West.\u003c/p>\n\u003cfigure id=\"attachment_13870003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg\" alt=\"At the West Oakland Youth Center, young people making video games with assistance from the Hidden Genius Project and The David Glover Digital Technology Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the West Oakland Youth Center, young people making video games with assistance from the The Hidden Genius Project and The David Glover Digital Technology Center. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, before the official start of the conference, I stopped by the West Oakland Youth Center, where folks from the \u003ca href=\"https://www.degetc.org/\">David Glover Emerging Technology Center\u003c/a> and \u003ca href=\"http://www.hiddengeniusproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Hidden Genius Project\u003c/a> had teamed up with the\u003ca href=\"https://www.fam1stfamilyfoundation.org/\"> Fam1st Family Foundation\u003c/a> to hold a coding workshop for a bouncy group of preteen boys and girls, all of them African American.\u003c/p>\n\u003cp>“We’re here doing this all the time,” said Akeem Brown, Program Director with The Hidden Genius Project. They meet there regularly, every Tuesday and Thursday, AfroTech or not.\u003c/p>\n\u003cp>It was like a sitcom the way he finished his sentence and not even a minute later, a guy named Tony walked in the youth center—black luggage bag on wheels in tow—fresh off the airplane from Los Angeles. He said he was in town for the conference, and wanted to apply for a job with The Hidden Genius Project.\u003c/p>\n\u003cp>And so the conference was a job fair, technical workshop and family reunion all in one. As The Hidden Genius Project’s Executive Director Brandon Nicholson told me, “It’s just like Howard Homecoming.”\u003c/p>\n\u003cp>I could see that.\u003c/p>\n\u003cp>The black working class and middle class, coming together to strive for further upward mobility and simultaneously celebrate black excellence… all while some disenfranchised locals feel overlooked. That’s how it was when I was at Howard University. That’s how some felt about AfroTech.\u003c/p>\n\u003cp>Despite the free community stage and open workshops, it was the closed sessions, private clubs and $450 conference ticket price that left a number of people feeling like it wasn’t for them.\u003c/p>\n\u003cp>A few people told me in person, while others left comments on chat boards. And then there was this thread attached to\u003ca href=\"https://twitter.com/OGpenn/status/1192926822771478528?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> a tweet\u003c/a> I posted during the conference.\u003c/p>\n\u003cp>Right before I left AfroTech in Old Oakland on Friday, I talked to a guy named Ron, an unsheltered guy who lives on the corner of Eighth & Clay Streets with his partner. I simply asked him if he’d seen any changes in the way he’s been treated this weekend, given there was a conference celebrating black excellence in the extremely lucrative field of technology, right there in his backyard. “Na, they step over me just like everyone else,” Ron told me.\u003c/p>\n\u003cp>I tweeted the interaction out. It ruffled a few feathers, for better or worse.\u003c/p>\n\u003cfigure id=\"attachment_13870017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png\" alt=\"A sound response. \" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sound response.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t a shot at AfroTech, or even a commentary on the attendees. It was just an observation; a note about the conflicting juxtaposition I’d just witnessed.\u003c/p>\n\u003cp>I mean, on one hand, you’ve got people talking about how \u003ca href=\"https://twitter.com/awholecatfish/status/1192915445801635840?s=20\">AfroTech had downtown Oakland looking like Wakanda\u003c/a>.\u003c/p>\n\u003cp>And on the other hand, here’s Ron, a homeless African American man. In a place where \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70% of the unsheltered people are African American\u003c/a>. A place that’s currently going through a homeless crisis that the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a> has called “cruel and inhuman.”\u003c/p>\n\u003cp>A place where, literally as AfroTech was going on, a group of unsheltered people were \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/Longtime-Oakland-residents-now-homeless-14815555.php\">evicted from an encampment\u003c/a>—many of them African American Oakland natives.\u003c/p>\n\u003cp>And days later, as I type this, Dominique Walker and Sameerah Karim, two African American mothers associated with the group \u003ca href=\"https://twitter.com/moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, have commandeered a vacant house in West Oakland that was foreclosed on and then purchased by \u003ca href=\"https://protect-us.mimecast.com/s/qw-mCADmygF91V0nh8YBoy?domain=wedgewood-inc.com\" target=\"_blank\" rel=\"noopener noreferrer\">Wedgewood Properties.\u003c/a>\u003c/p>\n\u003cp>It’s drastic times in the town right now when it comes to black folks and housing. And I can’t stop thinking about it. Reading about it. Researching.\u003c/p>\n\u003cp>A further illustration of the point about race and class: between 2008-2017, the median annual household income of black residents moving into the Bay Area was approximately 42% higher than that of black residents moving out of the Bay Area, according to Issi Romem, founder and director of \u003ca href=\"https://www.metrosight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MetroSight\u003c/a>, a consulting firm which provides research and analysis into city data.\u003c/p>\n\u003cp>Meanwhile, over that same 10-year period, the Bay Area had more black residents leave (about 149,000) than arrive (about 109,000).\u003c/p>\n\u003cp>In other words, there’s more black folks going than coming. And those who are coming to the Bay Area have deeper pockets.\u003c/p>\n\u003cp>What can be done?\u003c/p>\n\u003cp>I in no way think homelessness is a byproduct of AfroTech. Nor is it the immediate responsibility of the attendees. But there’s a clear opportunity for something to be done, something that bridges the overwhelming amount of unsheltered black folks on the streets of the Bay Area and African Americans in tech—an industry that’s exacerbated the cost of living in the Bay Area, and one of the many driving forces, along with lack of government oversight and greedy developers, pushing gentrification in this region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People in the Bay Area are working every day to solve this problem. Hopefully before next year’s AfroTech, something significant can be done. Because bruh, I don’t recall seeing any unsheltered folks being stepped over in Wakanda.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! San Francisco ‘Crime’ at the Victoria and French Crime at the Roxie",
"headTitle": "Now Playing! San Francisco ‘Crime’ at the Victoria and French Crime at the Roxie | KQED",
"content": "\u003cp>We’re taking a ride in the wayback machine this week, starting with a blast from the Mabuhay Gardens’ past. Dozens of local punk and rock bands played the North Beach club in the ’70s and ’80s, but only Crime had a member (drummer Henry Rosenthal a.k.a. Hank Rank) with the foresight to painstakingly preserve performance footage—shot on 16mm in 1978 for Larry Larson’s cable access show \u003ci>In Review\u003c/i>—of his band.\u003c/p>\n\u003cp>Rosenthal went on to become the Bay Area’s preeminent independent film producer, so he knows something about years-in-gestation movie projects. At long last, he and director-editor Jon Bastian have turned that raw vintage celluloid into \u003cem>Crime 1978\u003c/em>, a document of the times that packs 11 Crime songs and Dirk Dirksen, the late Mabuhay booker and caustic emcee, into 35 minutes.\u003c/p>\n\u003cp>To tout the DVD and vinyl soundtrack releases, \u003cem>Crime 1978\u003c/em> screens Nov. 14 at the Victoria Theatre. The movie is the centerpiece of a rock variety show, with Rosenthal and Bastian regaling the crowd with anecdotes and original Crime bassist Ron “The Ripper” Greco playing a couple numbers. Oh yeah, the bill also includes another ’70s concert film, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>. \u003ca href=\"https://www.eventbrite.com/e/cops-vs-aliens-an-evening-of-rocknroll-film-wcrime-1978-ziggy-stardust-tickets-73310233883\" rel=\"noopener\" target=\"_blank\">Cops Vs. Aliens: An Evening of Rock ’n’ Roll Film\u003c/a> kicks out the jams at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_13869736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg\" alt=\"Still from 'Crime 1978,' Ginger Coyote and a fan. \" width=\"1200\" height=\"847\" class=\"size-full wp-image-13869736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crime 1978,’ Ginger Coyote and a fan. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going even further back, Don Malcolm’s vast, multi-part excavation of postwar French noir, neo-noir and second-cousin-by-marriage noir has finally run out of Renault-wrecked road. \u003ca href=\"https://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-6/?instance_id=37821\" rel=\"noopener\" target=\"_blank\">The French had a Name for It 6: The Sixties and the End of the Line\u003c/a> packs five days with 15 flicks filled with Gitanes and slick suits, and more than a little sunbathing.\u003c/p>\n\u003cp>Malcolm’s selections remind us, more than anything, that the French film industry wasn’t totally transformed overnight by the Nouvelle Vague successes of Claude Chabrol, François Truffaut and Jean-Luc Godard (who is represented here with 1963’s \u003cem>Le Petit Soldat\u003c/em>). The retrospective includes several mainstream films that are traditional in form and structure, even if they adopted New Wave markers like location shooting and young stars with devil-may-care attitudes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series opener, \u003cem>La Corde Raide\u003c/em> (\u003cem>Lovers on a Tightrope\u003c/em>, 1960) toplines Annie Girardot just a few months before her international breakthrough in Luchino Visconti’s \u003cem>Rocco and His Brothers\u003c/em>. She’s married to an affluent businessman but in love with a hunky mechanic who, wouldn’t you know it, has an ulterior motive. Incidentally, what was the last movie you saw in which the female lead broke a heel running on the sidewalk?\u003c/p>\n\u003cfigure id=\"attachment_13869737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg\" alt=\"Still from 'Objectif: 500 Millions,' 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\" width=\"1200\" height=\"879\" class=\"size-full wp-image-13869737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-1020x747.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Objectif: 500 Millions,’ 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Melodie en Sous-Sol\u003c/em> (\u003cem>Any Number Can Win\u003c/em>, 1963) casts another next-generation star, Alain Delon, opposite French monument Jean Gabin to enjoyable though curious effect. The stars only have a couple scenes together through the film’s first hour; it’s almost like they’re in different movies for different audiences. Yet the pairing of the calm, cool icon with the jittery rebel without a cause fits the movie’s underlying theme, namely the inevitably of change that accompanies the passage of time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fresh-out-the-slammer thief (Gabin) needing one last big score to retire to Canberra (!) enlists a former cellmate (Delon) in a plan to rip off a Cannes casino. Savor the rear-screen projection of Delon driving a sports car along the Riviera with his sunglasses on, smiling at everyone, and every other delicious moment in this stylish soufflé. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re taking a ride in the wayback machine this week, starting with a blast from the Mabuhay Gardens’ past. Dozens of local punk and rock bands played the North Beach club in the ’70s and ’80s, but only Crime had a member (drummer Henry Rosenthal a.k.a. Hank Rank) with the foresight to painstakingly preserve performance footage—shot on 16mm in 1978 for Larry Larson’s cable access show \u003ci>In Review\u003c/i>—of his band.\u003c/p>\n\u003cp>Rosenthal went on to become the Bay Area’s preeminent independent film producer, so he knows something about years-in-gestation movie projects. At long last, he and director-editor Jon Bastian have turned that raw vintage celluloid into \u003cem>Crime 1978\u003c/em>, a document of the times that packs 11 Crime songs and Dirk Dirksen, the late Mabuhay booker and caustic emcee, into 35 minutes.\u003c/p>\n\u003cp>To tout the DVD and vinyl soundtrack releases, \u003cem>Crime 1978\u003c/em> screens Nov. 14 at the Victoria Theatre. The movie is the centerpiece of a rock variety show, with Rosenthal and Bastian regaling the crowd with anecdotes and original Crime bassist Ron “The Ripper” Greco playing a couple numbers. Oh yeah, the bill also includes another ’70s concert film, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>. \u003ca href=\"https://www.eventbrite.com/e/cops-vs-aliens-an-evening-of-rocknroll-film-wcrime-1978-ziggy-stardust-tickets-73310233883\" rel=\"noopener\" target=\"_blank\">Cops Vs. Aliens: An Evening of Rock ’n’ Roll Film\u003c/a> kicks out the jams at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_13869736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg\" alt=\"Still from 'Crime 1978,' Ginger Coyote and a fan. \" width=\"1200\" height=\"847\" class=\"size-full wp-image-13869736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crime 1978,’ Ginger Coyote and a fan. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going even further back, Don Malcolm’s vast, multi-part excavation of postwar French noir, neo-noir and second-cousin-by-marriage noir has finally run out of Renault-wrecked road. \u003ca href=\"https://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-6/?instance_id=37821\" rel=\"noopener\" target=\"_blank\">The French had a Name for It 6: The Sixties and the End of the Line\u003c/a> packs five days with 15 flicks filled with Gitanes and slick suits, and more than a little sunbathing.\u003c/p>\n\u003cp>Malcolm’s selections remind us, more than anything, that the French film industry wasn’t totally transformed overnight by the Nouvelle Vague successes of Claude Chabrol, François Truffaut and Jean-Luc Godard (who is represented here with 1963’s \u003cem>Le Petit Soldat\u003c/em>). The retrospective includes several mainstream films that are traditional in form and structure, even if they adopted New Wave markers like location shooting and young stars with devil-may-care attitudes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>La Corde Raide\u003c/em> (\u003cem>Lovers on a Tightrope\u003c/em>, 1960) toplines Annie Girardot just a few months before her international breakthrough in Luchino Visconti’s \u003cem>Rocco and His Brothers\u003c/em>. She’s married to an affluent businessman but in love with a hunky mechanic who, wouldn’t you know it, has an ulterior motive. Incidentally, what was the last movie you saw in which the female lead broke a heel running on the sidewalk?\u003c/p>\n\u003cfigure id=\"attachment_13869737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg\" alt=\"Still from 'Objectif: 500 Millions,' 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\" width=\"1200\" height=\"879\" class=\"size-full wp-image-13869737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-1020x747.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Objectif: 500 Millions,’ 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Melodie en Sous-Sol\u003c/em> (\u003cem>Any Number Can Win\u003c/em>, 1963) casts another next-generation star, Alain Delon, opposite French monument Jean Gabin to enjoyable though curious effect. The stars only have a couple scenes together through the film’s first hour; it’s almost like they’re in different movies for different audiences. Yet the pairing of the calm, cool icon with the jittery rebel without a cause fits the movie’s underlying theme, namely the inevitably of change that accompanies the passage of time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fresh-out-the-slammer thief (Gabin) needing one last big score to retire to Canberra (!) enlists a former cellmate (Delon) in a plan to rip off a Cannes casino. Savor the rear-screen projection of Delon driving a sports car along the Riviera with his sunglasses on, smiling at everyone, and every other delicious moment in this stylish soufflé. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The South Korean movie \u003cem>Parasite\u003c/em>, a tale of the rich Park family and the poor Kim family, is an international sensation — partly because of universal themes like the conflict between haves and have-nots. But certain elements of \u003cem>Parasite\u003c/em> are specifically South Korean, including its architecture.\u003c/p>\n\u003cp>“When I was little, I did live in a house at one point, but mostly I grew up in apartment complexes,” says director Bong Joon-ho, who spoke with NPR through an interpreter at the Culver City, Calif. offices. “So I mostly lived on the ninth floor, the 13th floor, so I lived mid-air. In Korea during the 1970s and ’80s, apartment complexes symbolized the middle class.”\u003c/p>\n\u003cp>You don’t see much of the middle class in \u003cem>Parasite\u003c/em>. Its action toggles from a gleaming modernist mansion floating in the hills above Seoul to a squalid basement apartment.\u003c/p>\n\u003cp>Gina Kim, a professor at UCLA \u003ca href=\"http://www.ginakimfilms.com/\">and filmmaker\u003c/a> originally from South Korea, notes that similar mansions can be found nearly anywhere in the world: Berlin, Dubai, Westchester County in New York. But the semi-basement apartment is particular to Seoul, she says: It dates from the days of the nuclear standoff between the United States and the Soviet Union.\u003c/p>\n\u003cp>“Everyone was paranoid after the Korean War, and they started to build bunkers in all the buildings, even in big apartment buildings,” she says. “So that space depicted in the film, the semi-basement, is a bunker in a way, and it was used as a bunker in the 1970s.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s more than one bunker in the movie, but the semi-basement bunker is the primary home for the Kim family, who serve, more or less, as \u003cem>Parasite\u003c/em>‘s anti-heroes. Renting out such semi-basements as residences was illegal for a long time, Kim says. They were filled with mold and pests, and prone to floods; people who lived there developed chronic coughs and skin conditions.\u003c/p>\n\u003cp>But over just a few decades, South Korea went from being one of the world’s poorest economies to the eleventh-largest. Kim says the government was compelled to legalize these semi-underground apartments to accommodate workers pouring in. That doesn’t mean they became desirable.\u003c/p>\n\u003cp>“People can look into them,” Kim says. “People pee on the windows. People park their cars [in front of them], blocking whatever little sunlight they have.” \u003c/p>\n\u003cp>Boon Jong-ho says the family in the basement wants to improve their situation, but they’re mired in the muck — literally and figuratively. \u003c/p>\n\u003cp>“These semi-basement homes are only half underground. That’s very similar to the psychology of our protagonists,” he says. “We became a wealthy country very fast. And people who weren’t able to board that fast train towards wealth, they feel lost. And they feel a sense of inferiority.”\u003c/p>\n\u003cp>“The economy is not just about numbers,” he says. “It also carries a lot of emotion as well.” \u003c/p>\n\u003cp>These themes have played out in Bong’s earlier films, \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">especially his 2013 class parable\u003c/a> \u003cem>Snowpiercer\u003c/em>, as well as in South Korean popular culture more generally. Gina Kim points to a 2008 indie rock hit “Cheap Coffee” by Chang Kiha, which speaks to young people failed by dreams of class mobility. \u003c/p>\n\u003cp>https://youtu.be/LwSnYGXZ808\u003c/p>\n\u003cp>Her translation of the opening lyrics:\u003c/p>\n\u003cblockquote>\n\u003cp>I drink cheap coffee\u003cbr>It’s not even lukewarm and I get heartburn\u003cbr>My feet get stuck on the clammy linoleum floor and make a loud thud as they separate from the floor.\u003cbr>A cockroach skitters by but I don’t even care\u003cbr>I just wonder why my cough doesn’t stop in dark mornings.\u003c/p>\n\u003c/blockquote>\n\u003cp>The metaphors here, Kim says, are not especially subtle. But then again, neither is the story — in \u003cem>Parasite\u003c/em> and around the world — of structural inequality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hit+Movie+%27Parasite%27+Puts+Basement+Structures+In+Structural+Inequality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The South Korean movie \u003cem>Parasite\u003c/em>, a tale of the rich Park family and the poor Kim family, is an international sensation — partly because of universal themes like the conflict between haves and have-nots. But certain elements of \u003cem>Parasite\u003c/em> are specifically South Korean, including its architecture.\u003c/p>\n\u003cp>“When I was little, I did live in a house at one point, but mostly I grew up in apartment complexes,” says director Bong Joon-ho, who spoke with NPR through an interpreter at the Culver City, Calif. offices. “So I mostly lived on the ninth floor, the 13th floor, so I lived mid-air. In Korea during the 1970s and ’80s, apartment complexes symbolized the middle class.”\u003c/p>\n\u003cp>You don’t see much of the middle class in \u003cem>Parasite\u003c/em>. Its action toggles from a gleaming modernist mansion floating in the hills above Seoul to a squalid basement apartment.\u003c/p>\n\u003cp>Gina Kim, a professor at UCLA \u003ca href=\"http://www.ginakimfilms.com/\">and filmmaker\u003c/a> originally from South Korea, notes that similar mansions can be found nearly anywhere in the world: Berlin, Dubai, Westchester County in New York. But the semi-basement apartment is particular to Seoul, she says: It dates from the days of the nuclear standoff between the United States and the Soviet Union.\u003c/p>\n\u003cp>“Everyone was paranoid after the Korean War, and they started to build bunkers in all the buildings, even in big apartment buildings,” she says. “So that space depicted in the film, the semi-basement, is a bunker in a way, and it was used as a bunker in the 1970s.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s more than one bunker in the movie, but the semi-basement bunker is the primary home for the Kim family, who serve, more or less, as \u003cem>Parasite\u003c/em>‘s anti-heroes. Renting out such semi-basements as residences was illegal for a long time, Kim says. They were filled with mold and pests, and prone to floods; people who lived there developed chronic coughs and skin conditions.\u003c/p>\n\u003cp>But over just a few decades, South Korea went from being one of the world’s poorest economies to the eleventh-largest. Kim says the government was compelled to legalize these semi-underground apartments to accommodate workers pouring in. That doesn’t mean they became desirable.\u003c/p>\n\u003cp>“People can look into them,” Kim says. “People pee on the windows. People park their cars [in front of them], blocking whatever little sunlight they have.” \u003c/p>\n\u003cp>Boon Jong-ho says the family in the basement wants to improve their situation, but they’re mired in the muck — literally and figuratively. \u003c/p>\n\u003cp>“These semi-basement homes are only half underground. That’s very similar to the psychology of our protagonists,” he says. “We became a wealthy country very fast. And people who weren’t able to board that fast train towards wealth, they feel lost. And they feel a sense of inferiority.”\u003c/p>\n\u003cp>“The economy is not just about numbers,” he says. “It also carries a lot of emotion as well.” \u003c/p>\n\u003cp>These themes have played out in Bong’s earlier films, \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">especially his 2013 class parable\u003c/a> \u003cem>Snowpiercer\u003c/em>, as well as in South Korean popular culture more generally. Gina Kim points to a 2008 indie rock hit “Cheap Coffee” by Chang Kiha, which speaks to young people failed by dreams of class mobility. \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/LwSnYGXZ808'\n title='//www.youtube.com/embed/LwSnYGXZ808'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her translation of the opening lyrics:\u003c/p>\n\u003cblockquote>\n\u003cp>I drink cheap coffee\u003cbr>It’s not even lukewarm and I get heartburn\u003cbr>My feet get stuck on the clammy linoleum floor and make a loud thud as they separate from the floor.\u003cbr>A cockroach skitters by but I don’t even care\u003cbr>I just wonder why my cough doesn’t stop in dark mornings.\u003c/p>\n\u003c/blockquote>\n\u003cp>The metaphors here, Kim says, are not especially subtle. But then again, neither is the story — in \u003cem>Parasite\u003c/em> and around the world — of structural inequality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hit+Movie+%27Parasite%27+Puts+Basement+Structures+In+Structural+Inequality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Keanu Reeves, Dennis Quaid and Our National Obsession With Women’s Age",
"headTitle": "Keanu Reeves, Dennis Quaid and Our National Obsession With Women’s Age | KQED",
"content": "\u003cp>[dropcap]K[/dropcap]eanu Reeves stepped out over the weekend holding hands with artist and longtime friend, \u003ca href=\"https://alexandragrant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Grant\u003c/a>. The new couple’s debut at the LACMA Art and Film Gala prompted an immediate, enthusiastic response on social media that was centered around two things: The public desire to see Keanu Reeves happy after a litany of \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/how-unbearable-grief-saw-keanu-20814493\" target=\"_blank\" rel=\"noopener noreferrer\">personal tragedies\u003c/a>, and the fact that Grant is in her forties.\u003c/p>\n\u003cp>https://twitter.com/Travon/status/1191543326706561025\u003c/p>\n\u003cp>https://twitter.com/AngryBlackLady/status/1191526193121513472\u003c/p>\n\u003cp>https://twitter.com/MissBrittHayes/status/1191515987566383104\u003c/p>\n\u003cp>The 55-year-old actor’s decision to date a 46-year-old woman with grey hair was seen by a majority of commenters as a badge of honor, and further confirmation that Reeves is one of the good ones. This reaction was in direct contrast to how the world simultaneously greeted the news that Dennis Quaid, age 65, is engaged to 26-year-old Laura Savoie.\u003c/p>\n\u003cp>https://twitter.com/megweiss13/status/1189280467264196609\u003c/p>\n\u003cp>https://twitter.com/theflans/status/1191190014115364865\u003c/p>\n\u003cp>https://twitter.com/OliviaJRowe/status/1191574822930788352\u003c/p>\n\u003cp>Our obsession with \u003ca href=\"https://www.thetalko.com/the-20-biggest-age-difference-couples-in-hollywood/\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood age gaps\u003c/a> is nothing new. And though Sarah Paulson has received her \u003ca href=\"https://www.oprahmag.com/entertainment/a27043410/sarah-paulson-holland-taylor-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">fair share of scrutiny\u003c/a> for her relationship with Holland Taylor, 32 years her senior, and Demi Moore raised some eyebrows when she married Ashton Kutcher, this is a conversation that almost always focuses on famous men and their girlfriends.\u003c/p>\n\u003cp>The problem is, while these discussions are usually dressed up as either critiques or endorsements of the male celebrities in question, judging them on the ages of the women they date reinforces ideas about female partners as trophies; accessories that serve only to reflect the men they’re attached to. [aside postid='pop_104230']\u003c/p>\n\u003cp>To make matters worse, basing our judgements on the ages of these women in relation to their partners suggests that even in 2019, a woman is defined first by her relationship, then by her age, then by her actual accomplishments. When Dennis Quaid and his current girlfriend are discussed, it comes up only in the footnotes that Savoie is a PhD student who already has a bachelor’s degree in accounting. No one seems all that interested in the fact that she clearly has ambitions beyond her famous boyfriend.\u003c/p>\n\u003cp>The cultural tendency to correlate a woman’s value with her age leaves women at the mercy of inconstant ideas around youth and beauty, versus maturity and experience—and that dichotomy invites insecurities for all. Regardless of which end of the scale women fall on, they can’t win. If you’re young, you’re hot but you don’t know enough yet; if you’re older, you’re smart but less physically desirable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\n\u003cp>https://twitter.com/h_tucks/status/1191670750438133761\u003c/p>\n\u003cp>https://twitter.com/_sophiedarling/status/1191788480319365120\u003c/p>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. One wrote: “Because I have other professions open to me in which the hours are shorter, the work more agreeable, and the pay possibly better.” Another replied: “I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”\u003c/p>\n\u003cp>Even when it’s well-intentioned, when we continue to judge famous men for the relationships they’re in, what we’re also doing is reminding women that much of their value continues to be assessed through the lens of both their romantic lives and their ages. What’s more, assuming men have all the onus over these relationships strips their wives and girlfriends of agency, as if these women had no hand in their own relationship status, or choice of partner.\u003c/p>\n\u003cp>In the end, passing judgement over partnerships between anyone, regardless of profession, or age, or sexuality, or race is utterly pointless. People will love who they want to love. Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The 55-year-old actor’s decision to date a 46-year-old woman with grey hair was seen by a majority of commenters as a badge of honor, and further confirmation that Reeves is one of the good ones. This reaction was in direct contrast to how the world simultaneously greeted the news that Dennis Quaid, age 65, is engaged to 26-year-old Laura Savoie.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Our obsession with \u003ca href=\"https://www.thetalko.com/the-20-biggest-age-difference-couples-in-hollywood/\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood age gaps\u003c/a> is nothing new. And though Sarah Paulson has received her \u003ca href=\"https://www.oprahmag.com/entertainment/a27043410/sarah-paulson-holland-taylor-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">fair share of scrutiny\u003c/a> for her relationship with Holland Taylor, 32 years her senior, and Demi Moore raised some eyebrows when she married Ashton Kutcher, this is a conversation that almost always focuses on famous men and their girlfriends.\u003c/p>\n\u003cp>The problem is, while these discussions are usually dressed up as either critiques or endorsements of the male celebrities in question, judging them on the ages of the women they date reinforces ideas about female partners as trophies; accessories that serve only to reflect the men they’re attached to. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To make matters worse, basing our judgements on the ages of these women in relation to their partners suggests that even in 2019, a woman is defined first by her relationship, then by her age, then by her actual accomplishments. When Dennis Quaid and his current girlfriend are discussed, it comes up only in the footnotes that Savoie is a PhD student who already has a bachelor’s degree in accounting. No one seems all that interested in the fact that she clearly has ambitions beyond her famous boyfriend.\u003c/p>\n\u003cp>The cultural tendency to correlate a woman’s value with her age leaves women at the mercy of inconstant ideas around youth and beauty, versus maturity and experience—and that dichotomy invites insecurities for all. Regardless of which end of the scale women fall on, they can’t win. If you’re young, you’re hot but you don’t know enough yet; if you’re older, you’re smart but less physically desirable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. One wrote: “Because I have other professions open to me in which the hours are shorter, the work more agreeable, and the pay possibly better.” Another replied: “I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”\u003c/p>\n\u003cp>Even when it’s well-intentioned, when we continue to judge famous men for the relationships they’re in, what we’re also doing is reminding women that much of their value continues to be assessed through the lens of both their romantic lives and their ages. What’s more, assuming men have all the onus over these relationships strips their wives and girlfriends of agency, as if these women had no hand in their own relationship status, or choice of partner.\u003c/p>\n\u003cp>In the end, passing judgement over partnerships between anyone, regardless of profession, or age, or sexuality, or race is utterly pointless. People will love who they want to love. Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"headTitle": "Emilia Clarke on ‘Last Christmas,’ Brexit and Life After ‘Game of Thrones’ | KQED",
"content": "\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z9CEIcmWmtA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\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/z9CEIcmWmtA'\n title='//www.youtube.com/embed/z9CEIcmWmtA'\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>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inzsKlVR_N8\u003c/p>\n\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KyoE0mSJXO8\u003c/p>\n\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\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/inzsKlVR_N8'\n title='//www.youtube.com/embed/inzsKlVR_N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\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/KyoE0mSJXO8'\n title='//www.youtube.com/embed/KyoE0mSJXO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now in its 23rd year, the world’s first and longest-running transgender and gender non-conforming film festival is taking over the Roxie once more for four days this November.\u003c/p>\n\u003cp>The array of movies featured this year serve to challenge negative stereotypes, shine a light on the richness and diversity of the transgender community, and to ultimately “build community and engage audiences in cross-community dialogue.”\u003c/p>\n\u003cp>You can get a taste of what’s to come during this year’s schedule in the preview below:\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=58&v=NeqwC3OFNvk\u003c/p>\n\u003cp>Film highlights this year include: \u003ca href=\"https://transfinitefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>TRANSFINITE\u003c/em>\u003c/a>, a sci-fi collection of seven short stories in which a diverse array of queer heroes use their superpowers to thrive; \u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tender\u003c/em>\u003c/a>, the story of three black trans women surviving in the Tenderloin; and \u003ca href=\"https://www.dazeddigital.com/film-tv/article/44821/1/denim-film-jazz-jennings-daryen-run-interview-lgbt-trans-stories\" target=\"_blank\" rel=\"noopener\">\u003cem>Denim\u003c/em>\u003c/a>, the story of a transgender girl being outed by a classmate after an encounter in the school bathroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Transgender Film Festival was co-founded in 1997 by \u003ca href=\"https://en.wikipedia.org/wiki/Christopher_Lee_(activist)\" target=\"_blank\" rel=\"noopener\">Christopher Lee\u003c/a> and Alex Austin, after Austin came across a movie about Lee’s gender transition—\u003cem>Christopher’s Chronicles—\u003c/em>in the course of producing Oakland’s first LGBT film festival, Alternate Vision.\u003c/p>\n\u003cp>Lee, who passed away in 2012, is often remembered for being the first trans man to serve as the Grand Marshal at the San Francisco Pride Parade. He was honored earlier this year at the Stonewall National Monument, where he was inducted onto the National \u003ca href=\"https://en.wikipedia.org/wiki/National_LGBTQ_Wall_of_Honor\" target=\"_blank\" rel=\"noopener\">LGBTQ Wall of Honor\u003c/a>, which remembers “pioneers, trailblazers and heroes” in the community.\u003c/p>\n\u003cp>Austin and Lee brought on musician, activist and filmmaker \u003ca href=\"http://sftff.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a> as a co-director in 2003, and she remains artistic director of the Transgender Film Festival today. At the 20th anniversary of the festival, she noted that putting it together every year was an annual labor of love. “We’ve survived on our trans smarts, sweat,” she said, “and love from our communities.”\u003c/p>\n\u003cp>The full San Francisco Transgender Film Festival schedule is as follows:\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/san-francisco-transgender-film-festival-program-1/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 1\u003c/a> (Nov. 7): \u003cem>Transfinite\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-2/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 2\u003c/a> (Nov. 8): \u003cem>The Whistle, Denim\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-3/\" target=\"_blank\" rel=\"noopener\">Program 3\u003c/a> (Nov. 9): \u003cem>Sweet and Tender Hooligan, I-57, Feeling Like An Orchid, Consonance, Unbecoming, Trans 128\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-4/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 4\u003c/a> (Nov. 9): \u003cem>Eat Rich, Feminina, To Be With You, Get Off My Terf!, Across, Beyond and Over, This is For Us\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 5\u003c/a> (Nov. 10): \u003cem>Mark, Tender, Turning, Boiler\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-6/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 6\u003c/a> (Nov. 10):\u003cem>The Drum Tower, Run!, People Like Me, Carving Space\u003c/em>, and \u003cem>Honor Black Trans Women!\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: Screenings on Nov. 7 and 8 will include closed captioning and ASL interpretations. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 23rd year, the world’s first and longest-running transgender and gender non-conforming film festival is taking over the Roxie once more for four days this November.\u003c/p>\n\u003cp>The array of movies featured this year serve to challenge negative stereotypes, shine a light on the richness and diversity of the transgender community, and to ultimately “build community and engage audiences in cross-community dialogue.”\u003c/p>\n\u003cp>You can get a taste of what’s to come during this year’s schedule in the preview below:\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/NeqwC3OFNvk'\n title='//www.youtube.com/embed/NeqwC3OFNvk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Film highlights this year include: \u003ca href=\"https://transfinitefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>TRANSFINITE\u003c/em>\u003c/a>, a sci-fi collection of seven short stories in which a diverse array of queer heroes use their superpowers to thrive; \u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tender\u003c/em>\u003c/a>, the story of three black trans women surviving in the Tenderloin; and \u003ca href=\"https://www.dazeddigital.com/film-tv/article/44821/1/denim-film-jazz-jennings-daryen-run-interview-lgbt-trans-stories\" target=\"_blank\" rel=\"noopener\">\u003cem>Denim\u003c/em>\u003c/a>, the story of a transgender girl being outed by a classmate after an encounter in the school bathroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Transgender Film Festival was co-founded in 1997 by \u003ca href=\"https://en.wikipedia.org/wiki/Christopher_Lee_(activist)\" target=\"_blank\" rel=\"noopener\">Christopher Lee\u003c/a> and Alex Austin, after Austin came across a movie about Lee’s gender transition—\u003cem>Christopher’s Chronicles—\u003c/em>in the course of producing Oakland’s first LGBT film festival, Alternate Vision.\u003c/p>\n\u003cp>Lee, who passed away in 2012, is often remembered for being the first trans man to serve as the Grand Marshal at the San Francisco Pride Parade. He was honored earlier this year at the Stonewall National Monument, where he was inducted onto the National \u003ca href=\"https://en.wikipedia.org/wiki/National_LGBTQ_Wall_of_Honor\" target=\"_blank\" rel=\"noopener\">LGBTQ Wall of Honor\u003c/a>, which remembers “pioneers, trailblazers and heroes” in the community.\u003c/p>\n\u003cp>Austin and Lee brought on musician, activist and filmmaker \u003ca href=\"http://sftff.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a> as a co-director in 2003, and she remains artistic director of the Transgender Film Festival today. At the 20th anniversary of the festival, she noted that putting it together every year was an annual labor of love. “We’ve survived on our trans smarts, sweat,” she said, “and love from our communities.”\u003c/p>\n\u003cp>The full San Francisco Transgender Film Festival schedule is as follows:\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/san-francisco-transgender-film-festival-program-1/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 1\u003c/a> (Nov. 7): \u003cem>Transfinite\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-2/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 2\u003c/a> (Nov. 8): \u003cem>The Whistle, Denim\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-3/\" target=\"_blank\" rel=\"noopener\">Program 3\u003c/a> (Nov. 9): \u003cem>Sweet and Tender Hooligan, I-57, Feeling Like An Orchid, Consonance, Unbecoming, Trans 128\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-4/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 4\u003c/a> (Nov. 9): \u003cem>Eat Rich, Feminina, To Be With You, Get Off My Terf!, Across, Beyond and Over, This is For Us\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 5\u003c/a> (Nov. 10): \u003cem>Mark, Tender, Turning, Boiler\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-6/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 6\u003c/a> (Nov. 10):\u003cem>The Drum Tower, Run!, People Like Me, Carving Space\u003c/em>, and \u003cem>Honor Black Trans Women!\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: Screenings on Nov. 7 and 8 will include closed captioning and ASL interpretations. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'She Makes Me Shine,' Dorothy Nyong'o Accepts Award For Fueling Lupita's Passion for Art",
"headTitle": "‘She Makes Me Shine,’ Dorothy Nyong’o Accepts Award For Fueling Lupita’s Passion for Art | KQED",
"content": "\u003cp>As Lupita Nyong’o accepted an award from the Harlem School of Arts — and entered the stage to Beyoncé’s anthemic hit “Brown Skin Girl” — the actress mainly had two people to thank for fueling her passion for the arts as a child: her parents.\u003c/p>\n\u003cp>“I was thinking about (the Harlem School of Arts) and what it does for children and its students (and) I didn’t have an institution where I’m in from in Nairobi, Kenya. And so the only way my interest in the arts thrived was because I had parents who valued those interests,” she said Monday night at the school’s annual Mask Ball in New York City. “And my mother in particular, she really nurtured my artistic spirit.”\u003c/p>\n\u003cp>So it was only appropriate that the Oscar winner’s mother, Dorothy Nyong’o, also received the Visionary Lineage Award alongside her daughter at The Plaza Hotel.\u003c/p>\n\u003cp>“I really didn’t do much,” Dorothy Nyong’o said to laughs from the audience, which included staff and students from the Harlem School of Arts, board members, donors and more.\u003c/p>\n\u003cp>Dorothy Nyong’o said she noticed her daughter’s interest in the arts as a child and so she looked “for opportunities to nurture that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My job was really to facilitate it and I’d like to encourage parents to do it. Sometimes we make the mistake of trying to make our children what we think we want,” she said.\u003c/p>\n\u003cp>Dorothy Nyong’o won over the audience with more sweet words for her 36-year-old daughter, who has appeared in films such as “Black Panther,” ″Star Wars,” ″Us” and “12 Years a Slave,” for which she won an Academy Award.\u003c/p>\n\u003cp>“I’m proud of her. She makes me shine.”\u003c/p>\n\u003cp>Lupita Nyong’o, who earned a Tony nomination for her lead role in Broadway’s “Eclipsed,” thanked her mom for all of her support, explaining that when she was a teenager her mother “drove to rehearsals after a long day at work” and sat “in the car for five or so hours … and she never complained.”\u003c/p>\n\u003cp>“The Daily Show” host Trevor Noah introduced the Nyong’os to the stage, and they left the stage as “Brown Skin Girl” — a song celebrating dark-skinned women where Beyoncé namedrops Lupita’s name — blasted in the background.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other honorees at Monday’s benefit — which raised more than $100,000 in text message donations and featured performances from students, alumni and staff — included Essence Communications CEO Michelle Ebanks and JP Morgan Chase executive Racquel Oden.\u003c/p>\n\n",
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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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"marketplace": {
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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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"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": "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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"politicalbreakdown": {
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"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",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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