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"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
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"content": "\u003cp>For a while there, in the aftermath of his \u003cem>Home Alone\u003c/em> fame, it seemed like Macaulay Culkin might go the route of the tragic child star. He fired his own dad for stealing money from him; he got married at age 18 and was separated by 20; he was briefly jailed in 2004 for possession of weed and a variety of prescription pills. He was \u003cem>also\u003c/em> friends with Michael Jackson, for crying out loud.\u003c/p>\n\u003cp>But in the last decade, Macaulay Culkin has fashioned a place for himself in American pop culture that is consistently and unequivocally a surreal joy to behold—and he doesn’t get nearly enough mainstream attention for it.\u003c/p>\n\u003cp>Just this week, he took it upon himself to jump on stage with Lizzo at the Hollywood Palladium in order to do “The Sprinkler” and a bunch of other dance moves that suggest he knows exactly how bad he is at dancing.\u003c/p>\n\u003cp>Still, he was pleased enough with the end result to post a clip to Twitter:\u003c/p>\n\u003cp>https://twitter.com/IncredibleCulk/status/1186536743379456000\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=129&v=1Tn3rXeylkQ\u003c/p>\n\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\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/1Tn3rXeylkQ'\n title='//www.youtube.com/embed/1Tn3rXeylkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "20 Years Later, 'Boys Don't Cry' Still Inspires Admiration and Debate",
"headTitle": "20 Years Later, ‘Boys Don’t Cry’ Still Inspires Admiration and Debate | KQED",
"content": "\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VqqqaV0Cn3M\u003c/p>\n\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The tiny independent film became a critical and box office hit by introducing mainstream audiences to a transgender hero. It fictionalized the true story of the brutal murder of Brandon Teena.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VqqqaV0Cn3M'\n title='//www.youtube.com/embed/VqqqaV0Cn3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>That headline, friends and neighbors, is intended to be slightly provocative and completely ironic. Join me, for just 24 hours, in abandoning the tired cliché that the good old days (especially hereabouts) were all that great.\u003c/p>\n\u003cp>Sure, those of us who’ve lived here for any length of time are convinced that San Francisco used to be a kinder, classier, quirkier and more affordable city. But perhaps that says more about us, and the way human beings react to the inevitability of change, than it says about the city.\u003c/p>\n\u003cp>“I remember my grandparents doing this in the car,” recalls filmmaker Peter Paul Jacques, who grew up in San Diego before relocating at the beginning of 1989 to study film at San Francisco State. “‘That used to be an ostrich farm.’ I’d go ‘Ugh, who cares, Grandma?’ Then you hit 50 and you go, ‘Ohhhh.’” Jacques’ forthcoming documentary, \u003ci>\u003ca href=\"https://www.sf89doc.com/\" rel=\"noopener\" target=\"_blank\">SF89: San Francisco Before the Internet\u003c/a>\u003c/i>, excavates and revisits the San Francisco of the late 1980s and early 1990s, a pivotal era in the lives of Jacques and his friends.\u003c/p>\n\u003cp>Of looking back over a period of massive change, Jacques muses, “What does that do to you inside? I think the theme of change is universal. We romanticize, ‘It used to be so great.’ People come up to me about this film, ‘You’re doing it about San Francisco in the good times.’ Well, it wasn’t that good.” Jacques laughs. “If we weren’t having a major earthquake, there were all kinds of [other] terrible, horrible [things].”\u003c/p>\n\u003cp>https://vimeo.com/363943361\u003c/p>\n\u003cp>The Loma Prieta earthquake that Jacques is referring to shook, rattled, rocked and rolled every creature in the Bay Area 30 years ago today. It immediately became a national story, thanks to the interrupted broadcast of the third game of the Bay Bridge World Series at Candlestick Park. But it took a good deal longer for locals, and the country, to come to terms with the fact that 63 people lost their lives in quake-related events.\u003c/p>\n\u003cp>As Jacques notes, it wasn’t the only unexpected tragedy during that period. The month after the quake, a construction crane collapsed at Kearny and California, killing five people. (“My friend John helped pull people out of that,” Jacques says.) The first Gulf War began a year later. (“I was of draft age and they were talking about [reinstating] the draft. We took to the streets.”) The mass shooting at 101 California that left eight people dead occurred three years after that. (“I was down the street,” Jacques notes.)\u003c/p>\n\u003cp>Of course, for Jacques and his friends, the period was remarkable for quite different reasons. It was a time when a single person could make lattes at a Rincon Center shop for minimum wage and afford rent, food and their nightly drinks at the neighborhood bar. (Jacques lived at Steiner and Fell, for those of you keeping score at home.)\u003c/p>\n\u003cfigure id=\"attachment_13868343\" class=\"wp-caption aligncenter\" style=\"max-width: 905px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KIds.jpg\" alt=\"Vikki Krekler and Peter Jacques in 1989.\" width=\"905\" height=\"706\" class=\"size-full wp-image-13868343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-768x599.jpg 768w\" sizes=\"(max-width: 905px) 100vw, 905px\">\u003cfigcaption class=\"wp-caption-text\">Vikki Krekler and Peter Jacques in 1989. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late ’80s and early ’90s, for him, marked that crucial period in a young person’s life that they think will continue forever. Jacques’ circle of friends were primarily artists, which is to say experimenters and collaborators. Since creative energy, by its nature, is impulsive rather than strategic, nobody was particularly concerned at the time with the future—or the past.\u003c/p>\n\u003cp>Let’s not forget, though, that even then there were folks warning that chain stores were paving over San Francisco’s history and violating its character. I lived at Oak and Ashbury in 1988—just before Jacques arrived—and was awakened one September morning by sirens and smoke. A Thrifty drugstore under construction on Haight Street was in flames, and the tenor of the times was such that it was instantly assumed that an opponent of soulless corporate expansion had torched the building. (It turned out to be arson, in fact.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Peter Paul Jacques']‘Everybody has a San Francisco. It’s the one you found when you got here.’[/pullquote]\u003c/p>\n\u003cp>The bigger point is that whenever you moved to San Francisco, and stepped into the stream that is the ebb, flow and change of a city, that’s your frame of reference.\u003c/p>\n\u003cp>“Someone told me about a book or an article written in 1859 about 1849 saying, ‘\u003cem>That\u003c/em> was the real San Francisco,’” Jacques remarks. “I would say that that is the same everywhere, not just in San Francisco. Any big city has a lore. And whenever you arrive, someone says, ‘Kid, you missed it.’\u003c/p>\n\u003cp>“We were talking about doing [the film] in the form of chapters, and one of the chapters I originally wrote was, ‘You Missed It.’ I started interviewing people about that and I didn’t get a lot of reaction. ‘I don’t remember anyone telling me that.’ Gee, I do. Maybe you weren’t listening.”\u003c/p>\n\u003cp>Jacques has been developing \u003cem>SF89: San Francisco Before the Internet\u003c/em> for several years, his thinking and vision for the project evolving along the way. While he largely relies on interviews with friends and acquaintances from the pre- and post-quake period, he’s clear about the need to reach a cross-generational audience—which means resisting the pitfall of the siren song of nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13868344\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg\" alt=\"The corner of Market and Stockton in 1992.\" width=\"1022\" height=\"700\" class=\"size-full wp-image-13868344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-1020x699.jpg 1020w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Market and Stockton in 1992. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is a type of documentary that I don’t want to make—and there’s nothing wrong with them, it’s just that I want to do something more—and it’s ‘let’s go down Memory Lane.’ What I want to do is something about the emotion of change, and watching it and being part of it, and one minute you’re the younger generation and for way longer you’re not.”\u003c/p>\n\u003cp>Jacques recently completed his last round of interviews, and he’s about to immerse himself in postproduction. Documentaries have a way of shifting their focus in the editing room, as a different story—or a more urgent theme—emerges out of the one the filmmaker conceived. But he imagines a structure in which the past and the present can coexist.\u003c/p>\n\u003cp>“The film could have the veneer of fun nostalgia, because I think that’s going to draw people to want to see it,” he says. “That’s what \u003cem>I\u003c/em> would come for. Lead them in with that, then give them something more nutritious: Let’s put it in the context of life and the world. Everybody has a San Francisco. It’s the one you found when you got here.”\u003c/p>\n\u003cfigure id=\"attachment_13868345\" class=\"wp-caption aligncenter\" style=\"max-width: 1107px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg\" alt=\"Still of Leigh Crow interview from 'SF89.'\" width=\"1107\" height=\"675\" class=\"size-full wp-image-13868345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg 1107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-1020x622.jpg 1020w\" sizes=\"(max-width: 1107px) 100vw, 1107px\">\u003cfigcaption class=\"wp-caption-text\">Still of Leigh Crow interview from ‘SF89.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s that last bit that gives \u003cem>SF89: San Francisco Before the Internet\u003c/em> the potential ability to go beyond Jacques’ peers—let’s call them the ’89ers—and speak to San Francisco’s newest arrivals.\u003c/p>\n\u003cp>“I think a lot of times young people aren’t listening,” Jacques says. “We’re all, ‘It’s ours!’ and you reach your arms around and you grab it and ‘San Francisco is this and this and this and this.’ Then the next generation comes along and theirs is slightly different. So there’s that friction: ‘We don’t do that here.’ And the younger generation says, ‘Well, we do \u003cem>now\u003c/em>.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That headline, friends and neighbors, is intended to be slightly provocative and completely ironic. Join me, for just 24 hours, in abandoning the tired cliché that the good old days (especially hereabouts) were all that great.\u003c/p>\n\u003cp>Sure, those of us who’ve lived here for any length of time are convinced that San Francisco used to be a kinder, classier, quirkier and more affordable city. But perhaps that says more about us, and the way human beings react to the inevitability of change, than it says about the city.\u003c/p>\n\u003cp>“I remember my grandparents doing this in the car,” recalls filmmaker Peter Paul Jacques, who grew up in San Diego before relocating at the beginning of 1989 to study film at San Francisco State. “‘That used to be an ostrich farm.’ I’d go ‘Ugh, who cares, Grandma?’ Then you hit 50 and you go, ‘Ohhhh.’” Jacques’ forthcoming documentary, \u003ci>\u003ca href=\"https://www.sf89doc.com/\" rel=\"noopener\" target=\"_blank\">SF89: San Francisco Before the Internet\u003c/a>\u003c/i>, excavates and revisits the San Francisco of the late 1980s and early 1990s, a pivotal era in the lives of Jacques and his friends.\u003c/p>\n\u003cp>Of looking back over a period of massive change, Jacques muses, “What does that do to you inside? I think the theme of change is universal. We romanticize, ‘It used to be so great.’ People come up to me about this film, ‘You’re doing it about San Francisco in the good times.’ Well, it wasn’t that good.” Jacques laughs. “If we weren’t having a major earthquake, there were all kinds of [other] terrible, horrible [things].”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Loma Prieta earthquake that Jacques is referring to shook, rattled, rocked and rolled every creature in the Bay Area 30 years ago today. It immediately became a national story, thanks to the interrupted broadcast of the third game of the Bay Bridge World Series at Candlestick Park. But it took a good deal longer for locals, and the country, to come to terms with the fact that 63 people lost their lives in quake-related events.\u003c/p>\n\u003cp>As Jacques notes, it wasn’t the only unexpected tragedy during that period. The month after the quake, a construction crane collapsed at Kearny and California, killing five people. (“My friend John helped pull people out of that,” Jacques says.) The first Gulf War began a year later. (“I was of draft age and they were talking about [reinstating] the draft. We took to the streets.”) The mass shooting at 101 California that left eight people dead occurred three years after that. (“I was down the street,” Jacques notes.)\u003c/p>\n\u003cp>Of course, for Jacques and his friends, the period was remarkable for quite different reasons. It was a time when a single person could make lattes at a Rincon Center shop for minimum wage and afford rent, food and their nightly drinks at the neighborhood bar. (Jacques lived at Steiner and Fell, for those of you keeping score at home.)\u003c/p>\n\u003cfigure id=\"attachment_13868343\" class=\"wp-caption aligncenter\" style=\"max-width: 905px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KIds.jpg\" alt=\"Vikki Krekler and Peter Jacques in 1989.\" width=\"905\" height=\"706\" class=\"size-full wp-image-13868343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-768x599.jpg 768w\" sizes=\"(max-width: 905px) 100vw, 905px\">\u003cfigcaption class=\"wp-caption-text\">Vikki Krekler and Peter Jacques in 1989. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late ’80s and early ’90s, for him, marked that crucial period in a young person’s life that they think will continue forever. Jacques’ circle of friends were primarily artists, which is to say experimenters and collaborators. Since creative energy, by its nature, is impulsive rather than strategic, nobody was particularly concerned at the time with the future—or the past.\u003c/p>\n\u003cp>Let’s not forget, though, that even then there were folks warning that chain stores were paving over San Francisco’s history and violating its character. I lived at Oak and Ashbury in 1988—just before Jacques arrived—and was awakened one September morning by sirens and smoke. A Thrifty drugstore under construction on Haight Street was in flames, and the tenor of the times was such that it was instantly assumed that an opponent of soulless corporate expansion had torched the building. (It turned out to be arson, in fact.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bigger point is that whenever you moved to San Francisco, and stepped into the stream that is the ebb, flow and change of a city, that’s your frame of reference.\u003c/p>\n\u003cp>“Someone told me about a book or an article written in 1859 about 1849 saying, ‘\u003cem>That\u003c/em> was the real San Francisco,’” Jacques remarks. “I would say that that is the same everywhere, not just in San Francisco. Any big city has a lore. And whenever you arrive, someone says, ‘Kid, you missed it.’\u003c/p>\n\u003cp>“We were talking about doing [the film] in the form of chapters, and one of the chapters I originally wrote was, ‘You Missed It.’ I started interviewing people about that and I didn’t get a lot of reaction. ‘I don’t remember anyone telling me that.’ Gee, I do. Maybe you weren’t listening.”\u003c/p>\n\u003cp>Jacques has been developing \u003cem>SF89: San Francisco Before the Internet\u003c/em> for several years, his thinking and vision for the project evolving along the way. While he largely relies on interviews with friends and acquaintances from the pre- and post-quake period, he’s clear about the need to reach a cross-generational audience—which means resisting the pitfall of the siren song of nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13868344\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg\" alt=\"The corner of Market and Stockton in 1992.\" width=\"1022\" height=\"700\" class=\"size-full wp-image-13868344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-1020x699.jpg 1020w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Market and Stockton in 1992. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is a type of documentary that I don’t want to make—and there’s nothing wrong with them, it’s just that I want to do something more—and it’s ‘let’s go down Memory Lane.’ What I want to do is something about the emotion of change, and watching it and being part of it, and one minute you’re the younger generation and for way longer you’re not.”\u003c/p>\n\u003cp>Jacques recently completed his last round of interviews, and he’s about to immerse himself in postproduction. Documentaries have a way of shifting their focus in the editing room, as a different story—or a more urgent theme—emerges out of the one the filmmaker conceived. But he imagines a structure in which the past and the present can coexist.\u003c/p>\n\u003cp>“The film could have the veneer of fun nostalgia, because I think that’s going to draw people to want to see it,” he says. “That’s what \u003cem>I\u003c/em> would come for. Lead them in with that, then give them something more nutritious: Let’s put it in the context of life and the world. Everybody has a San Francisco. It’s the one you found when you got here.”\u003c/p>\n\u003cfigure id=\"attachment_13868345\" class=\"wp-caption aligncenter\" style=\"max-width: 1107px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg\" alt=\"Still of Leigh Crow interview from 'SF89.'\" width=\"1107\" height=\"675\" class=\"size-full wp-image-13868345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg 1107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-1020x622.jpg 1020w\" sizes=\"(max-width: 1107px) 100vw, 1107px\">\u003cfigcaption class=\"wp-caption-text\">Still of Leigh Crow interview from ‘SF89.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s that last bit that gives \u003cem>SF89: San Francisco Before the Internet\u003c/em> the potential ability to go beyond Jacques’ peers—let’s call them the ’89ers—and speak to San Francisco’s newest arrivals.\u003c/p>\n\u003cp>“I think a lot of times young people aren’t listening,” Jacques says. “We’re all, ‘It’s ours!’ and you reach your arms around and you grab it and ‘San Francisco is this and this and this and this.’ Then the next generation comes along and theirs is slightly different. So there’s that friction: ‘We don’t do that here.’ And the younger generation says, ‘Well, we do \u003cem>now\u003c/em>.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco Silent Film Festival’s imminent premiere of its newly restored 1915 two-reeler \u003cem>Jane’s Declaration of Independence\u003c/em> has been booked solid for weeks. You might still snag a spot on the \u003ca href=\"http://www.silentfilm.org/homepage/whats-new/presidio-jane\">waiting list\u003c/a>, though, for the Oct. 19 show at the \u003ca href=\"https://www.kqed.org/arts/13866660/historic-presidio-theatre-reopens-following-40-million-renovation\" rel=\"noopener noreferrer\" target=\"_blank\">recently renovated and reopened\u003c/a> Presidio Theatre. Seeing the earliest surviving theatrical release filmed in the Presidio \u003cem>in\u003c/em> the Presidio is bound to be special.\u003c/p>\n\u003cp>If you can’t join the crowd for Saturday’s silent-era show, the next best thing is a trip to the \u003ca href=\"https://museumca.org/exhibit/no-spectators-art-burning-man\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland Museum of California\u003c/a>. There you’ll find, sequestered in the new touring exhibition \u003cem>\u003ca href=\"https://www.kqed.org/arts/13868108/burning-man-no-spectators-oakland-museum\" rel=\"noopener noreferrer\" target=\"_blank\">No Spectators: The Art of Burning Man\u003c/a>\u003c/em>, a half-dozen delicious shorts conceived and produced by San Francisco’s Obsolete Pictures. Wonderfully designed and more than a little tongue-in-cheek, the 21st Century silent films can be found looping inside “The Capitol Theater,” a 12-seat theater-on-wheels devised and built by the Oakland arts collective Five Ton Crane to enthrall sunbaked desert revelers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13868255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Creative whirlwind Allen White and producer and story maven Bree Hylkema are the movies’ key collaborators, employing current gear to evoke the look, feel, innocence and incredulity of early cinema. The films work as both homage and parody, our pleasure deriving from a shared understanding (by the artists and the viewer) of both the constraints that early filmmakers faced and the smugness with which many people watch older films.\u003c/p>\n\u003cp>\u003cem>The Picnic\u003c/em>, the most ambitious Obsolete Pictures work, is a 25-minute, multi-character melodrama that winks and nods at D.W. Griffith, Victor Sjostrom and Man Ray. The most remarkable and artistic piece, though, is \u003cem>Kokolores: Ein Modernener Tanz in Zwei Acte\u003c/em>, a pair of dance performances for the camera which salutes Weimar weirdness in Act I and shadow-happy Expressionism in Act II.\u003c/p>\n\u003cp>\u003cem>No Spectators: The Art of Burning Man\u003c/em> is on view at the Oakland Museum through Feb. 16, 2020. The ideal viewing experience is seated in “The Capitol Theater,” but if you can’t attend in person, you can stream the films at the \u003ca href=\"https://obsoletepictures.com\" rel=\"noopener noreferrer\" target=\"_blank\">Obsolete Pictures\u003c/a> website.\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 San Francisco Silent Film Festival’s imminent premiere of its newly restored 1915 two-reeler \u003cem>Jane’s Declaration of Independence\u003c/em> has been booked solid for weeks. You might still snag a spot on the \u003ca href=\"http://www.silentfilm.org/homepage/whats-new/presidio-jane\">waiting list\u003c/a>, though, for the Oct. 19 show at the \u003ca href=\"https://www.kqed.org/arts/13866660/historic-presidio-theatre-reopens-following-40-million-renovation\" rel=\"noopener noreferrer\" target=\"_blank\">recently renovated and reopened\u003c/a> Presidio Theatre. Seeing the earliest surviving theatrical release filmed in the Presidio \u003cem>in\u003c/em> the Presidio is bound to be special.\u003c/p>\n\u003cp>If you can’t join the crowd for Saturday’s silent-era show, the next best thing is a trip to the \u003ca href=\"https://museumca.org/exhibit/no-spectators-art-burning-man\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland Museum of California\u003c/a>. There you’ll find, sequestered in the new touring exhibition \u003cem>\u003ca href=\"https://www.kqed.org/arts/13868108/burning-man-no-spectators-oakland-museum\" rel=\"noopener noreferrer\" target=\"_blank\">No Spectators: The Art of Burning Man\u003c/a>\u003c/em>, a half-dozen delicious shorts conceived and produced by San Francisco’s Obsolete Pictures. Wonderfully designed and more than a little tongue-in-cheek, the 21st Century silent films can be found looping inside “The Capitol Theater,” a 12-seat theater-on-wheels devised and built by the Oakland arts collective Five Ton Crane to enthrall sunbaked desert revelers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13868255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Creative whirlwind Allen White and producer and story maven Bree Hylkema are the movies’ key collaborators, employing current gear to evoke the look, feel, innocence and incredulity of early cinema. The films work as both homage and parody, our pleasure deriving from a shared understanding (by the artists and the viewer) of both the constraints that early filmmakers faced and the smugness with which many people watch older films.\u003c/p>\n\u003cp>\u003cem>The Picnic\u003c/em>, the most ambitious Obsolete Pictures work, is a 25-minute, multi-character melodrama that winks and nods at D.W. Griffith, Victor Sjostrom and Man Ray. The most remarkable and artistic piece, though, is \u003cem>Kokolores: Ein Modernener Tanz in Zwei Acte\u003c/em>, a pair of dance performances for the camera which salutes Weimar weirdness in Act I and shadow-happy Expressionism in Act II.\u003c/p>\n\u003cp>\u003cem>No Spectators: The Art of Burning Man\u003c/em> is on view at the Oakland Museum through Feb. 16, 2020. The ideal viewing experience is seated in “The Capitol Theater,” but if you can’t attend in person, you can stream the films at the \u003ca href=\"https://obsoletepictures.com\" rel=\"noopener noreferrer\" target=\"_blank\">Obsolete Pictures\u003c/a> website.\u003c/p>\n\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 above with Gabe Meline, Sarah Hotchkiss, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" 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, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" 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>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! A Palestinian State of Mind at Arab Film Festival",
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"content": "\u003cp>Gaza, Irish doc filmmaker Garry Keane and photojournalist Andrew McConnell remind us at the beginning of their immersive, textured \u003cem>Gaza\u003c/em>, is only 25 miles long and seven miles wide. Its borders with Egypt and Israel are closed, while the expansive Mediterranean merely offers the illusions of escape and freedom. For the last decade-plus, Gaza’s two million inhabitants have been ruled by Hamas, so women steadily have less latitude and liberty.\u003c/p>\n\u003cp>\u003cem>Gaza\u003c/em>, which is Ireland’s official submission for the Academy Award for International Feature Film (formerly known as Foreign Language Film), screens Oct. 16 and 19 in the \u003ca href=\"https://aff2019.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 11–20 at the Castro and Roxie in San Francisco and the New Parkway in Oakland). The filmmakers dispense with a narrator so as to amplify the voices of a range of everyday people—a cab driver, a cello-studying teenager, a child fisherman, a woman who produced the first fashion show in Gaza. The documentary teems with activity, yet the overwhelming vibe is inertia and frustration. “There is a barrier that stands between the people of Gaza and life itself,” declares a theater director with six college-educated children, none of whom found jobs after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13867791\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg\" alt=\"Still from 'It Must Be Heaven.'\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13867791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-1020x393.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘It Must Be Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dryly comic cinema laureate of Palestinian malaise, Elia Suleiman, has built a reasonably successful, undeniably bittersweet career since 1996’s \u003cem>Chronicle of a Disappearance\u003c/em> satirizing and lamenting (in equal measure) the painful quality of life under Israeli occupation. \u003cem>It Must Be Heaven\u003c/em>, his first feature since \u003cem>The Time That Remains\u003c/em> one long decade ago, opens the Arab Film Festival with a poignant whiff of dislocation, alienation and resignation.\u003c/p>\n\u003cp>Suleiman’s films aren’t narratives but rather collections of vignettes and sight gags that coalesce into a worldview. The now-gray-bearded filmmaker is the lone recurring character, a silent (except for precisely two lines of dialogue) and unsmiling observer of the absurdity of daily life in Nazareth, Paris and New York.\u003c/p>\n\u003cp>Clad in the same straw hat, slate jacket and jeans in every scene and setting, Suleiman is always an outsider, even in Palestine. That feeling is underscored by people interacting with each other as if they were aliens unversed in normal human behavior. The key consequence is that the usual Suleiman empathy and warmth, typically expressed via a raised eyebrow, is missing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alas, \u003cem>It Must Be Heaven\u003c/em> (which is Palestine’s official submission to the Oscars) is, to me, his least funny film by a mile. It may be as simple as a batch of gags failing to land—though the Bergman-meets-Woody Allen image of Death at a Manhattan falafel cart does elicit a laugh, as well as consideration of its layers of meaning—or perhaps it’s a symptom of a more serious condition: Suleiman no longer sees anything amusing about the Palestinians’ situation, or a world that tolerates their plight day after day, month after month, year after year. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gaza, Irish doc filmmaker Garry Keane and photojournalist Andrew McConnell remind us at the beginning of their immersive, textured \u003cem>Gaza\u003c/em>, is only 25 miles long and seven miles wide. Its borders with Egypt and Israel are closed, while the expansive Mediterranean merely offers the illusions of escape and freedom. For the last decade-plus, Gaza’s two million inhabitants have been ruled by Hamas, so women steadily have less latitude and liberty.\u003c/p>\n\u003cp>\u003cem>Gaza\u003c/em>, which is Ireland’s official submission for the Academy Award for International Feature Film (formerly known as Foreign Language Film), screens Oct. 16 and 19 in the \u003ca href=\"https://aff2019.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 11–20 at the Castro and Roxie in San Francisco and the New Parkway in Oakland). The filmmakers dispense with a narrator so as to amplify the voices of a range of everyday people—a cab driver, a cello-studying teenager, a child fisherman, a woman who produced the first fashion show in Gaza. The documentary teems with activity, yet the overwhelming vibe is inertia and frustration. “There is a barrier that stands between the people of Gaza and life itself,” declares a theater director with six college-educated children, none of whom found jobs after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13867791\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg\" alt=\"Still from 'It Must Be Heaven.'\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13867791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-1020x393.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘It Must Be Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dryly comic cinema laureate of Palestinian malaise, Elia Suleiman, has built a reasonably successful, undeniably bittersweet career since 1996’s \u003cem>Chronicle of a Disappearance\u003c/em> satirizing and lamenting (in equal measure) the painful quality of life under Israeli occupation. \u003cem>It Must Be Heaven\u003c/em>, his first feature since \u003cem>The Time That Remains\u003c/em> one long decade ago, opens the Arab Film Festival with a poignant whiff of dislocation, alienation and resignation.\u003c/p>\n\u003cp>Suleiman’s films aren’t narratives but rather collections of vignettes and sight gags that coalesce into a worldview. The now-gray-bearded filmmaker is the lone recurring character, a silent (except for precisely two lines of dialogue) and unsmiling observer of the absurdity of daily life in Nazareth, Paris and New York.\u003c/p>\n\u003cp>Clad in the same straw hat, slate jacket and jeans in every scene and setting, Suleiman is always an outsider, even in Palestine. That feeling is underscored by people interacting with each other as if they were aliens unversed in normal human behavior. The key consequence is that the usual Suleiman empathy and warmth, typically expressed via a raised eyebrow, is missing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alas, \u003cem>It Must Be Heaven\u003c/em> (which is Palestine’s official submission to the Oscars) is, to me, his least funny film by a mile. It may be as simple as a batch of gags failing to land—though the Bergman-meets-Woody Allen image of Death at a Manhattan falafel cart does elicit a laugh, as well as consideration of its layers of meaning—or perhaps it’s a symptom of a more serious condition: Suleiman no longer sees anything amusing about the Palestinians’ situation, or a world that tolerates their plight day after day, month after month, year after year. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since 2015, under the threat of the Taliban, Afghan filmmakers Hassan Fazili and Fatima Hussaini, along with their two young daughters, have been on the run for their lives.\u003c/p>\n\u003cp>The family fled Afghanistan after the extremist group had called for Fazili’s death over a film he’d made about one of its commanders.\u003c/p>\n\u003cp>Even as the refugee family navigates a still-incomplete journey—of death threats, discrimination and paralyzing immigration systems—Fazili and Hussaini turn their cameras on themselves and their daughters.\u003c/p>\n\u003cp>Hundreds of hours of footage that Fazili and his family all shot on their three cell phone cameras emerge as the new documentary, \u003cem>Midnight Traveler\u003c/em>.\u003c/p>\n\u003cp>Although the film has already started to roll out in theaters, their journey isn’t over. The family awaits a pending application to remain in Germany, where they’ve been living since April 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTT-duEoRdc\u003c/p>\n\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\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=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\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/BTT-duEoRdc'\n title='//www.youtube.com/embed/BTT-duEoRdc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\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=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Renée Zellweger Dazzles In A Go-For-Broke Portrayal Of Judy Garland",
"headTitle": "Renée Zellweger Dazzles In A Go-For-Broke Portrayal Of Judy Garland | KQED",
"content": "\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/iJ4mU3oQW3g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"description": "Though her physical transformation is hardly definitive, the actress's profound empathy for her subject elevates 'Judy' from a standard celebrity biopic to an unusually fascinating film.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iJ4mU3oQW3g'\n title='//www.youtube.com/embed/iJ4mU3oQW3g'\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>\u003cem>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Event Picks for Sept. 26–Oct. 2",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">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>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF Green Film Festival Brings It All Back Home",
"headTitle": "Now Playing! SF Green Film Festival Brings It All Back Home | KQED",
"content": "\u003cp>The simple, brilliant theme of the 2019 \u003ca href=\"https://www.greenfilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Green Film Festival\u003c/a>, which opens Wednesday, Sept. 24 at the Castro, is home. Brilliant, because our environment is wherever we live. While we’re concerned about the plastic-poisoned oceans, the burning rainforest, the fracked Northeast, they are (mostly) far away. As for the lovely sentiment that Planet Earth is humankind’s one and only home, that’s either too existential or too abstract to galvanize most of us.\u003c/p>\n\u003cp>But our house, our street, our neighborhood, our city—nothing is more real or more tangible. That reality underpins Fredrik Gertten’s quietly inspiring and quietly damning opening night film, \u003cem>Push\u003c/em>, which tracks UN Special Rapporteur Leilani Farah’s efforts to defend the international right to housing against—she discovers—The Blackstone Group and similar real estate vulture capitalists. Farah and Gertten are expected to attend. \u003c/p>\n\u003cfigure id=\"attachment_13866951\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg\" alt=\"Still from Fredrik Gertten's 'Push' with Leilani Farah. \" width=\"1200\" height=\"633\" class=\"size-full wp-image-13866951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-1020x538.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Fredrik Gertten’s ‘Push’ with Leilani Farah. \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Push\u003c/em> exposes something much more calculated and nefarious than creeping gentrification, but we can’t ignore the tech boom’s effects on the Bay Area landscape. Local filmmaker Dan Goldes’ generous and revelatory documentary, \u003cem>Five Blocks\u003c/em>, which receives its world premiere Sunday, Sept. 29 at 1pm the Roxie, gives voice to almost every conceivable stakeholder in the planning and redevelopment of mid-Market over the last decade.\u003c/p>\n\u003cp>There aren’t any villains in \u003cem>Five Blocks\u003c/em>—curses, foiled again!—but rather an appreciation for messy, complicated urban planning. For example, the construction of BART under Market St. in the ’60s had the side effect of destroying a shopping corridor and pushing businesses out. A terrible thing, but there was no place else in San Francisco that was wide enough to accommodate the tunnel. Can you imagine getting around the Bay today without BART?\u003c/p>\n\u003cfigure id=\"attachment_13866952\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200.jpg\" alt=\"Still from Christopher Beaver's 'Once Was Water.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13866952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Beaver’s ‘Once Was Water.’ \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another eye-opening local doc, Christopher Beaver and Diana Fuller’s \u003cem>Once Was Water\u003c/em> (its California premiere is Sunday, Sept. 29 at 6pm at the Roxie), cleverly digs below the surface to uncover the strategies and techniques that the desert playground of Las Vegas uses to conserve and recycle water. (Making visitors feel guilty for using water isn’t one of them. Didn’t you know Las Vegas is the guilt-free capitol of the U.S.?)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The throughlines that connect these three films, along with several others in the SF Green Film Festival, are optimism and activism. Solutions exist, close to home, and more and more people are involved. A movie may not change the world, but it can cultivate community.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The simple, brilliant theme of the 2019 \u003ca href=\"https://www.greenfilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Green Film Festival\u003c/a>, which opens Wednesday, Sept. 24 at the Castro, is home. Brilliant, because our environment is wherever we live. While we’re concerned about the plastic-poisoned oceans, the burning rainforest, the fracked Northeast, they are (mostly) far away. As for the lovely sentiment that Planet Earth is humankind’s one and only home, that’s either too existential or too abstract to galvanize most of us.\u003c/p>\n\u003cp>But our house, our street, our neighborhood, our city—nothing is more real or more tangible. That reality underpins Fredrik Gertten’s quietly inspiring and quietly damning opening night film, \u003cem>Push\u003c/em>, which tracks UN Special Rapporteur Leilani Farah’s efforts to defend the international right to housing against—she discovers—The Blackstone Group and similar real estate vulture capitalists. Farah and Gertten are expected to attend. \u003c/p>\n\u003cfigure id=\"attachment_13866951\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg\" alt=\"Still from Fredrik Gertten's 'Push' with Leilani Farah. \" width=\"1200\" height=\"633\" class=\"size-full wp-image-13866951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-1020x538.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Fredrik Gertten’s ‘Push’ with Leilani Farah. \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Push\u003c/em> exposes something much more calculated and nefarious than creeping gentrification, but we can’t ignore the tech boom’s effects on the Bay Area landscape. Local filmmaker Dan Goldes’ generous and revelatory documentary, \u003cem>Five Blocks\u003c/em>, which receives its world premiere Sunday, Sept. 29 at 1pm the Roxie, gives voice to almost every conceivable stakeholder in the planning and redevelopment of mid-Market over the last decade.\u003c/p>\n\u003cp>There aren’t any villains in \u003cem>Five Blocks\u003c/em>—curses, foiled again!—but rather an appreciation for messy, complicated urban planning. For example, the construction of BART under Market St. in the ’60s had the side effect of destroying a shopping corridor and pushing businesses out. A terrible thing, but there was no place else in San Francisco that was wide enough to accommodate the tunnel. Can you imagine getting around the Bay today without BART?\u003c/p>\n\u003cfigure id=\"attachment_13866952\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200.jpg\" alt=\"Still from Christopher Beaver's 'Once Was Water.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13866952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Beaver’s ‘Once Was Water.’ \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another eye-opening local doc, Christopher Beaver and Diana Fuller’s \u003cem>Once Was Water\u003c/em> (its California premiere is Sunday, Sept. 29 at 6pm at the Roxie), cleverly digs below the surface to uncover the strategies and techniques that the desert playground of Las Vegas uses to conserve and recycle water. (Making visitors feel guilty for using water isn’t one of them. Didn’t you know Las Vegas is the guilt-free capitol of the U.S.?)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman",
"headTitle": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman | KQED",
"content": "\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=84DpXtxtyNg\u003c/p>\n\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-vuyZrZxn9Y\u003c/p>\n\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Queen Meryl\u003c/em> goes on sale Sept. 24.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\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/84DpXtxtyNg'\n title='//www.youtube.com/embed/84DpXtxtyNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see 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/-vuyZrZxn9Y'\n title='//www.youtube.com/embed/-vuyZrZxn9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Queen Meryl\u003c/em> goes on sale Sept. 24.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Historic Presidio Theatre Reopens Following $40 Million Renovation",
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"headTitle": "Historic Presidio Theatre Reopens Following $40 Million Renovation | KQED",
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"content": "\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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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"planet-money": {
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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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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