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"title": "Better Stunts & Actors, Just As Derivative: 'Fast & Furious Presents: Hobbs & Shaw'",
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"content": "\u003cp>While we were all arguing whether Idris Elba should be the new 007, he opted to become the next T-800 instead. \u003c/p>\n\u003cp>In \u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em>, the most agreeable of the innumerable \u003cem>Fast & Furious\u003c/em> presentations, \u003cem>The Wire\u003c/em>‘s Stringer Bell plays a straight-up Terminator, with stainless steel innards, glowing orange eyeballs, and a Google-glass-like POV datastream that gives him helpful notifications such as ATTACK IMMINENT whenever bickering-buddy good guys Dwayne Johnson (aka Hobbs) or Jason Statham (aka Shaw) cock a fist in his direction.\u003c/p>\n\u003cp>That’s an observation top-billed Johnson makes himself while fleeing (!) the cybernetically-enhanced super-soldier, though Elba’s character—he’s called Brixton, like in the old Clash song “Guns of…”—prefers the sobriquet “Black Superman.”\u003c/p>\n\u003cp>But he has \u003cem>also\u003c/em> got more than a little Darth Vader in him, in that he’s shown to be doing the bidding of a unseen superior with a digitally scrambled voice who scolds Brixton for his failures while his more-machine-now-than-man-body is welded back together, post-battle. The disembodied voice of Supreme Leader Snoke or whatever even orders Brixton to attempt to turn Hobbs & Shaw to the Dark Side instead of simply rubbing them out! There’s petty larceny, there’s grand theft auto.\u003c/p>\n\u003cp>All of which is to say: This sidebar presentation is still a genuine \u003cem>Fast & Furious\u003c/em> movie, in the sense that almost everything in it has been shamelessly chop-shopped from the work of more innovative filmmakers and squished into a less memorable, more quickly digestible form, and calibrated to flatter its stars to the maximum extent possible. It breaks ground only in the area of punctuation, as its title contains two ampersands and a colon, a sequence of keystrokes seldom seen even in this late (?) hour of the Franchise Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b736ZM_KfEk\u003c/p>\n\u003cp>This one comes to us from director David Leitch, who collaborated with his old stunt-team partner Chad Stahelski on \u003cem>John Wick\u003c/em> before striking out on his own to direct, in short order, \u003cem>Atomic Blonde, Deadpool 2\u003c/em> and now this. Given his deep background staging fights and stunts and chases in-camera, it’s not surprising that the set pieces are generally crisper and more dimensional here than in the mainline \u003cem>Fast & Furious\u003c/em> films. Johnson and Statham are both considerably more athletic (and charismatic) performers than original-recipe \u003cem>F&F\u003c/em> star/producer Vin Diesel, who must not be upstaged, so getting rid of that clumsy tomato can allows them to cut loose, humor-wise and fisticuffs-wise. \u003c/p>\n\u003cp>The one sprinkling of novelty comes in the final 15 minutes, when Hobbs leads his allies back to his ancestral home in Samoa (as played by the Hawaiian island of Kauai) for a last stand (like 007 did in \u003cem>Skyfall\u003c/em>) after figuring out how to turn off their enemies’ electronically-locked firearms (like the one 007 had in, um, \u003cem>Skyfall\u003c/em>).\u003c/p>\n\u003cp>The binding aesthetic of the mayhem is still a bit sterile—it just doesn’t have the element of (seemingly) genuine danger that has made the \u003cem>Johns Wick\u003c/em>s, the last three \u003cem>Missions: Impossible\u003c/em> and \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a> all standouts of this genre.\u003c/p>\n\u003cp>But there are still some imaginative bits, like when several members of the Hobbs family daisy-chain their monster trucks to the front of a tow truck that’s attempting to pull Brixton’s helicopter out of the sky like a multi-ton barrel of monkeys. But all the other set pieces have a weird dearth of extras in them—the seeming absence of any bystanders is what makes a high-speed chase through London, for example, feel so low-stakes.\u003c/p>\n\u003cp>The plot this time is so far-out that it’s wasted, frankly, on a film that just wants to use it as the scaffolding between nitrous-oxide buggy chases and extended stand-up routines from surprise comic guest stars. Brixton is part of some trans-humanist techno cult called Eteon that wants to thin the herd (like Thanos!) using “a programmable virus” (like the one in \u003cem>Mission: Impossible II\u003c/em>!) and electronically upgrade the survivors to usher in the next phase of human evolution—or something like that.\u003c/p>\n\u003cp>One scene reveals that this group has minions who sit at rows of computer terminals surrounded by clouds—seriously, it looks like the way Powell and Pressburger depicted Heaven in \u003cem>A Matter of Life and Death\u003c/em>, 70 years ago. Through these terminals, these goons can exert \u003cem>total control over the global media\u003c/em>, which is how it takes exactly one line of dialogue for Brixton to publicly frame Hobbs, Shaw and new-player Vanessa Kirby (she’s Shaw’s MI6-agent sister, Hattie) as traitors (like Steve Rogers and, on more than one occasion, Ethan Hunt). \u003c/p>\n\u003cp>That media coup doesn’t really explain why our trio of heroes is being sought by multiple law-enforcement agencies. In fact, the film provides zero evidence they’re the subjects of a global manhunt; Hobbs simply announces it at one point. Maybe it’s the kind of thing he needs to say to psych himself up for combat. The movie never bothers to demonstrate the effects of its MacGuffin supervirus either, which might give this genial flexfest some sense of urgency. Many scenes begin with this sort of exposition-as-dialogue, as though the actors are trying to remind themselves what they’re supposed to be doing on this particular shooting day. Anyway, the three of them are forced to lam it, and Shaw (that’s Statham, remember, the short one) makes sure his frenemy Hobbs’ fake I.D. gives him the pseudonym “Mike Oxmall.”\u003c/p>\n\u003cp>Say it out loud. That’s the level this series operates on. Whether you find that funny or you don’t, you’re entirely correct. When it wants to up the sophistication, it points the camera at a Mini Cooper like the one Statham drove in the 2003 remake of \u003cem>The Italian Job\u003c/em> (the 1969 original is one from which the \u003cem>Fast\u003c/em> series has pilfered several big scenes) and has him say, “I used that for a \u003cem>job\u003c/em>… in Italy.” Wink! \u003c/p>\n\u003cp>The general sloppiness is the hallmark of a Chris Morgan Productions production. Morgan is the man whom \u003cem>H&S\u003c/em>‘s press notes identify as the “narrative architect” of the \u003cem>Fast\u003c/em> series. That’s not be confused with the “saga visionary,” which is the honorific Diesel has chosen for \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__feature.variety.com_vin-2Ddiesel-2Da-2Dfurious-2Dmind_&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=aSlOoTvJVkh6YJKG61M7dO_LNQ6ZqXM1niOW4vnkGgs&e=\" target=\"_blank\" rel=\"noopener\">himself\u003c/a>.\u003c/p>\n\u003cp>In any case, Morgan now shares screenplay credit with Drew Pearce, who helped out writer-director Shane Black on \u003cem>Iron Man 3\u003c/em> and writer-director Chris McQuarrie on \u003cem>\u003ca href=\"https://www.npr.org/2015/07/31/426883093/rogue-nation-fulfills-the-mission-of-a-reliable-blockbuster-series\" target=\"_blank\" rel=\"noopener\">Mission: Impossible — Rogue Nation\u003c/a>\u003c/em>, and who made \u003cem>Hotel Artemis\u003c/em>. In other words, there’s an actual writer on the show this time, which explains why \u003cem>Hobbs & Shaw\u003c/em> has something else that’s new to this series: real jokes, “Mike Oxmall” notwithstanding. (Statham has \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__sports.yahoo.com_jason-2Dstatham-2Dcredits-2Dunsung-2Dhero-2Ddrew-2Dpearce-2Dfor-2Dsaving-2Dhobbs-2Dshaw-2Dscript-2Dexclusive-2D101320358.html&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=H2yeXbHuSGydy7zcW587dp9brkxSQ7_IONZpGF-UqFU&e=\" target=\"_blank\" rel=\"noopener\">called Pearce\u003c/a> the “unsung hero” of the film for improving substantially upon Morgan’s draft. Imagine the contribution Pearce must have made for a lowly screenwriter to be praised on a press junket by name.) \u003c/p>\n\u003cp>\u003cem>Hobbs & Shaw\u003c/em> sets up as many sequels as its stars will show up for, but in the meantime, this is another entry that has forgotten that Statham’s character murdered Han, the charming racer played by Sung Kang, several movies ago, before someone decided to retcon Shaw into a good guy. Hey, this series only has one self-identified architect and one self-proclaimed visionary. It can’t be expected to sweat the small stuff. But it could use more sweat overall. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we were all arguing whether Idris Elba should be the new 007, he opted to become the next T-800 instead. \u003c/p>\n\u003cp>In \u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em>, the most agreeable of the innumerable \u003cem>Fast & Furious\u003c/em> presentations, \u003cem>The Wire\u003c/em>‘s Stringer Bell plays a straight-up Terminator, with stainless steel innards, glowing orange eyeballs, and a Google-glass-like POV datastream that gives him helpful notifications such as ATTACK IMMINENT whenever bickering-buddy good guys Dwayne Johnson (aka Hobbs) or Jason Statham (aka Shaw) cock a fist in his direction.\u003c/p>\n\u003cp>That’s an observation top-billed Johnson makes himself while fleeing (!) the cybernetically-enhanced super-soldier, though Elba’s character—he’s called Brixton, like in the old Clash song “Guns of…”—prefers the sobriquet “Black Superman.”\u003c/p>\n\u003cp>But he has \u003cem>also\u003c/em> got more than a little Darth Vader in him, in that he’s shown to be doing the bidding of a unseen superior with a digitally scrambled voice who scolds Brixton for his failures while his more-machine-now-than-man-body is welded back together, post-battle. The disembodied voice of Supreme Leader Snoke or whatever even orders Brixton to attempt to turn Hobbs & Shaw to the Dark Side instead of simply rubbing them out! There’s petty larceny, there’s grand theft auto.\u003c/p>\n\u003cp>All of which is to say: This sidebar presentation is still a genuine \u003cem>Fast & Furious\u003c/em> movie, in the sense that almost everything in it has been shamelessly chop-shopped from the work of more innovative filmmakers and squished into a less memorable, more quickly digestible form, and calibrated to flatter its stars to the maximum extent possible. It breaks ground only in the area of punctuation, as its title contains two ampersands and a colon, a sequence of keystrokes seldom seen even in this late (?) hour of the Franchise Age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/b736ZM_KfEk'\n title='//www.youtube.com/embed/b736ZM_KfEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This one comes to us from director David Leitch, who collaborated with his old stunt-team partner Chad Stahelski on \u003cem>John Wick\u003c/em> before striking out on his own to direct, in short order, \u003cem>Atomic Blonde, Deadpool 2\u003c/em> and now this. Given his deep background staging fights and stunts and chases in-camera, it’s not surprising that the set pieces are generally crisper and more dimensional here than in the mainline \u003cem>Fast & Furious\u003c/em> films. Johnson and Statham are both considerably more athletic (and charismatic) performers than original-recipe \u003cem>F&F\u003c/em> star/producer Vin Diesel, who must not be upstaged, so getting rid of that clumsy tomato can allows them to cut loose, humor-wise and fisticuffs-wise. \u003c/p>\n\u003cp>The one sprinkling of novelty comes in the final 15 minutes, when Hobbs leads his allies back to his ancestral home in Samoa (as played by the Hawaiian island of Kauai) for a last stand (like 007 did in \u003cem>Skyfall\u003c/em>) after figuring out how to turn off their enemies’ electronically-locked firearms (like the one 007 had in, um, \u003cem>Skyfall\u003c/em>).\u003c/p>\n\u003cp>The binding aesthetic of the mayhem is still a bit sterile—it just doesn’t have the element of (seemingly) genuine danger that has made the \u003cem>Johns Wick\u003c/em>s, the last three \u003cem>Missions: Impossible\u003c/em> and \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a> all standouts of this genre.\u003c/p>\n\u003cp>But there are still some imaginative bits, like when several members of the Hobbs family daisy-chain their monster trucks to the front of a tow truck that’s attempting to pull Brixton’s helicopter out of the sky like a multi-ton barrel of monkeys. But all the other set pieces have a weird dearth of extras in them—the seeming absence of any bystanders is what makes a high-speed chase through London, for example, feel so low-stakes.\u003c/p>\n\u003cp>The plot this time is so far-out that it’s wasted, frankly, on a film that just wants to use it as the scaffolding between nitrous-oxide buggy chases and extended stand-up routines from surprise comic guest stars. Brixton is part of some trans-humanist techno cult called Eteon that wants to thin the herd (like Thanos!) using “a programmable virus” (like the one in \u003cem>Mission: Impossible II\u003c/em>!) and electronically upgrade the survivors to usher in the next phase of human evolution—or something like that.\u003c/p>\n\u003cp>One scene reveals that this group has minions who sit at rows of computer terminals surrounded by clouds—seriously, it looks like the way Powell and Pressburger depicted Heaven in \u003cem>A Matter of Life and Death\u003c/em>, 70 years ago. Through these terminals, these goons can exert \u003cem>total control over the global media\u003c/em>, which is how it takes exactly one line of dialogue for Brixton to publicly frame Hobbs, Shaw and new-player Vanessa Kirby (she’s Shaw’s MI6-agent sister, Hattie) as traitors (like Steve Rogers and, on more than one occasion, Ethan Hunt). \u003c/p>\n\u003cp>That media coup doesn’t really explain why our trio of heroes is being sought by multiple law-enforcement agencies. In fact, the film provides zero evidence they’re the subjects of a global manhunt; Hobbs simply announces it at one point. Maybe it’s the kind of thing he needs to say to psych himself up for combat. The movie never bothers to demonstrate the effects of its MacGuffin supervirus either, which might give this genial flexfest some sense of urgency. Many scenes begin with this sort of exposition-as-dialogue, as though the actors are trying to remind themselves what they’re supposed to be doing on this particular shooting day. Anyway, the three of them are forced to lam it, and Shaw (that’s Statham, remember, the short one) makes sure his frenemy Hobbs’ fake I.D. gives him the pseudonym “Mike Oxmall.”\u003c/p>\n\u003cp>Say it out loud. That’s the level this series operates on. Whether you find that funny or you don’t, you’re entirely correct. When it wants to up the sophistication, it points the camera at a Mini Cooper like the one Statham drove in the 2003 remake of \u003cem>The Italian Job\u003c/em> (the 1969 original is one from which the \u003cem>Fast\u003c/em> series has pilfered several big scenes) and has him say, “I used that for a \u003cem>job\u003c/em>… in Italy.” Wink! \u003c/p>\n\u003cp>The general sloppiness is the hallmark of a Chris Morgan Productions production. Morgan is the man whom \u003cem>H&S\u003c/em>‘s press notes identify as the “narrative architect” of the \u003cem>Fast\u003c/em> series. That’s not be confused with the “saga visionary,” which is the honorific Diesel has chosen for \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__feature.variety.com_vin-2Ddiesel-2Da-2Dfurious-2Dmind_&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=aSlOoTvJVkh6YJKG61M7dO_LNQ6ZqXM1niOW4vnkGgs&e=\" target=\"_blank\" rel=\"noopener\">himself\u003c/a>.\u003c/p>\n\u003cp>In any case, Morgan now shares screenplay credit with Drew Pearce, who helped out writer-director Shane Black on \u003cem>Iron Man 3\u003c/em> and writer-director Chris McQuarrie on \u003cem>\u003ca href=\"https://www.npr.org/2015/07/31/426883093/rogue-nation-fulfills-the-mission-of-a-reliable-blockbuster-series\" target=\"_blank\" rel=\"noopener\">Mission: Impossible — Rogue Nation\u003c/a>\u003c/em>, and who made \u003cem>Hotel Artemis\u003c/em>. In other words, there’s an actual writer on the show this time, which explains why \u003cem>Hobbs & Shaw\u003c/em> has something else that’s new to this series: real jokes, “Mike Oxmall” notwithstanding. (Statham has \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__sports.yahoo.com_jason-2Dstatham-2Dcredits-2Dunsung-2Dhero-2Ddrew-2Dpearce-2Dfor-2Dsaving-2Dhobbs-2Dshaw-2Dscript-2Dexclusive-2D101320358.html&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=H2yeXbHuSGydy7zcW587dp9brkxSQ7_IONZpGF-UqFU&e=\" target=\"_blank\" rel=\"noopener\">called Pearce\u003c/a> the “unsung hero” of the film for improving substantially upon Morgan’s draft. Imagine the contribution Pearce must have made for a lowly screenwriter to be praised on a press junket by name.) \u003c/p>\n\u003cp>\u003cem>Hobbs & Shaw\u003c/em> sets up as many sequels as its stars will show up for, but in the meantime, this is another entry that has forgotten that Statham’s character murdered Han, the charming racer played by Sung Kang, several movies ago, before someone decided to retcon Shaw into a good guy. Hey, this series only has one self-identified architect and one self-proclaimed visionary. It can’t be expected to sweat the small stuff. But it could use more sweat overall. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Double Indemnity' is 75, But Film Noir is Forever",
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"content": "\u003cp>Let’s get right to the point. Walter Neff is a murderer: “Yes, I killed him. I killed him for money, and for a woman. I didn’t get the money and I didn’t get the woman.”\u003c/p>\n\u003cp>Fred MacMurray plays the hapless insurance salesman in the classic noir \u003cem>Double Indemnity\u003c/em>, which turns 75 this month—and helped launch a fraternity of films about wounded men in fedoras falling for sultry femmes fatales.\u003c/p>\n\u003cp>Walter’s confession comes at the start of the film—so I haven’t spoiled anything. The woman is Phyllis Dietrichson, played by Barbara Stanwyck. She’s a seductive housewife who would be much happier without her husband around. “The other night we drove home from a party, he was drunk again,” she says at one point. “When we drove into the garage, he just sat there with his head on the steering wheel with the motor still running. And I thought what it would be like if I didn’t switch it off. Just close the garage doors and left him there.”\u003c/p>\n\u003cp>Together, Phyllis and Walter hatch a scheme to kill her husband and make it look like an accident. But in \u003cem>Double Indemnity\u003c/em>, it’s also a given that the protagonists are doomed. “Suddenly it came over me that everything would go wrong. I couldn’t hear my own footsteps. It was the walk of a dead man,” Walter agonizes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yKrrAa2o9Eg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s no doubt in my mind that it was not only the commercial, but the artistic success of this film is what triggered the film noir movement in Hollywood,” says Eddie Muller—the Czar of the Noir, as he likes to call himself. He’s the host of Turner Classic Movies’ Noir Alley. “And I think that what makes it so special is that the protagonists are the villains,” he adds.\u003c/p>\n\u003cp>75 years ago, that was a big deal. Hollywood was heavily policed by production codes, and it was bold for director Billy Wilder to take his popular stars and turn them into killers. “We’re both rotten,” Phyllis says at one point. “Only you’re a little more rotten,” Walter shoots back. “You got me to take care of your husband for you.”\u003c/p>\n\u003cp>Film noir: Stories that exposed the dark underbelly of the American dream. Rich black and white with heavy shadows, and witty double entendres that skirted the censors. And the smoking. SO much smoking. After all, they were as good as dead anyway.\u003c/p>\n\u003cp>Film noir came from the hard-boiled fiction of writers like Dashiell Hammett, James M. Cain and Raymond Chandler. It took off in Hollywood during and after World War II, when Eddie Muller says you couldn’t sell people just on happy-ever-after anymore, “and so finally, here were stories on the big screen at the movie house that reflected that pessimism.”\u003c/p>\n\u003cp>That strain of pessimism and the visual style have never gone away, though it’s mostly on TV now, from \u003cem>The Sopranos\u003c/em> to Walter White in \u003cem>Breaking Bad\u003c/em>, or \u003cem>Jessica Jones\u003c/em>, with its tortured female protagonist. “Jessica Jones is sort of in the role of the, what would typically be the male hero, you know, the Humphrey Bogart, Fred MacMurray, where she’s the anti-hero,” says \u003cem>Jessica Jones\u003c/em> creator and showrunner Melissa Rosenberg, who adds that she could draw a line between Jessica Jones and \u003cem>Double Indemnity\u003c/em>‘s femme fatale. “She’s driving the story, she’s the smart, ambitious one who does what she has to to get what she wants.”\u003c/p>\n\u003cp>Today’s audiences are no longer shocked by this kind of story. In fact, says Eddie Muller, people now watch old movies like \u003cem>Double Indemnity\u003c/em> because they’re a little like comfort food, “like wow, that’s great—look, here’s a murder story from a more innocent time.”\u003c/p>\n\u003cp>Just don’t go looking for innocence down the mean streets of \u003cem>Double Indemnity\u003c/em>. You won’t find any.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Ted Robbins, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Double+Indemnity%27+Is+75%2C+But+Anklets+%28And+Film+Noir%29+Are+Forever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s no doubt in my mind that it was not only the commercial, but the artistic success of this film is what triggered the film noir movement in Hollywood,” says Eddie Muller—the Czar of the Noir, as he likes to call himself. He’s the host of Turner Classic Movies’ Noir Alley. “And I think that what makes it so special is that the protagonists are the villains,” he adds.\u003c/p>\n\u003cp>75 years ago, that was a big deal. Hollywood was heavily policed by production codes, and it was bold for director Billy Wilder to take his popular stars and turn them into killers. “We’re both rotten,” Phyllis says at one point. “Only you’re a little more rotten,” Walter shoots back. “You got me to take care of your husband for you.”\u003c/p>\n\u003cp>Film noir: Stories that exposed the dark underbelly of the American dream. Rich black and white with heavy shadows, and witty double entendres that skirted the censors. And the smoking. SO much smoking. After all, they were as good as dead anyway.\u003c/p>\n\u003cp>Film noir came from the hard-boiled fiction of writers like Dashiell Hammett, James M. Cain and Raymond Chandler. It took off in Hollywood during and after World War II, when Eddie Muller says you couldn’t sell people just on happy-ever-after anymore, “and so finally, here were stories on the big screen at the movie house that reflected that pessimism.”\u003c/p>\n\u003cp>That strain of pessimism and the visual style have never gone away, though it’s mostly on TV now, from \u003cem>The Sopranos\u003c/em> to Walter White in \u003cem>Breaking Bad\u003c/em>, or \u003cem>Jessica Jones\u003c/em>, with its tortured female protagonist. “Jessica Jones is sort of in the role of the, what would typically be the male hero, you know, the Humphrey Bogart, Fred MacMurray, where she’s the anti-hero,” says \u003cem>Jessica Jones\u003c/em> creator and showrunner Melissa Rosenberg, who adds that she could draw a line between Jessica Jones and \u003cem>Double Indemnity\u003c/em>‘s femme fatale. “She’s driving the story, she’s the smart, ambitious one who does what she has to to get what she wants.”\u003c/p>\n\u003cp>Today’s audiences are no longer shocked by this kind of story. In fact, says Eddie Muller, people now watch old movies like \u003cem>Double Indemnity\u003c/em> because they’re a little like comfort food, “like wow, that’s great—look, here’s a murder story from a more innocent time.”\u003c/p>\n\u003cp>Just don’t go looking for innocence down the mean streets of \u003cem>Double Indemnity\u003c/em>. You won’t find any.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Ted Robbins, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Double+Indemnity%27+Is+75%2C+But+Anklets+%28And+Film+Noir%29+Are+Forever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\n\u003cp>https://youtu.be/dDSq2fF9flk\u003c/p>\n\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dDSq2fF9flk'\n title='//www.youtube.com/embed/dDSq2fF9flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>NEW YORK (AP) — Dutch film actor Rutger Hauer, who specialized in menacing roles, including a memorable turn as a murderous android in “Blade Runner” opposite Harrison Ford, has died. He was 75.\u003c/p>\n\u003cp>Hauer’s agent, Steve Kenis, says the actor died July 19 at his home in the Netherlands.\u003c/p>\n\u003cp>Hauer’s roles included a terrorist in \u003cem>Nighthawks\u003c/em> with Sylvester Stallone, Cardinal Roark in \u003cem>Sin City\u003c/em> and playing an evil corporate executive in\u003cem> Batman Begins\u003c/em>. He was in the big-budget 1985 fantasy \u003cem>Ladyhawke\u003c/em>, portrayed a menacing hitchhiker who’s picked up by a murderer in the Mojave Desert in \u003cem>The Hitcher\u003c/em> and won a supporting-actor Golden Globe award in 1988 for \u003cem>Escape from Sobibor\u003c/em>.\u003c/p>\n\u003cp>“He was always a gentleman, kind and compassionate. Sending our condolences and prayers to his family, friends and fans,” Gene Simmons, the KISS bassist who starred opposite Hauer in \u003cem>Wanted: Dead or Alive\u003c/em>, wrote on Twitter.\u003c/p>\n\u003cp>In \u003cem>Blade Runner\u003c/em>, Hauer played the murderous replicant Roy Batty on a desperate quest to prolong his artificially shortened life in post-apocalyptic, 21st-century Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his dying, rain-soaked soliloquy, he looked back at his extraordinary existence. “All those moments will be lost in time. Like tears in rain. Time to die,” he said.\u003c/p>\n\u003cp>“It’s so much fun to playfully roam into the dark side of the soul and tease people,” the actor told The Associated Press in 1987. “If you try to work on human beings’ light side, that’s harder. What is good is hard. Most people try to be good all their lives. So you have to work harder to make those characters interesting.”\u003c/p>\n\u003cp>Hauer’s ruggedly handsome face, blue eyes and strong physique drew the attention of American producers in such international successes as \u003cem>Turkish Delight\u003c/em>, \u003cem>Spetters\u003c/em> and \u003cem>Soldier of Orange\u003c/em>. The offers from the United States came as a surprise to Hauer, who faced the same uncertain future experienced by other Dutch film actors.\u003c/p>\n\u003cp>“We make about 10 films a year, all in Dutch,” he recalled. “You act for your own community, basically, which is fine. But you can’t live on it. There is also the danger of overexposure; you can’t be too greedy.” After the world recognition for \u003cem>Soldier of Orange\u003c/em>, a friend suggested Hauer might be able to find work in American films.\u003c/p>\n\u003cp>Hauer was born in the Netherlands village of Breukelen. His parents were actors but he had little concentration for school and at 15 ran away as a seaman on a freighter. That didn’t take, nor did a stint in the army, and his parents decided he was destined to follow the family profession. Rutger enrolled in acting school.\u003c/p>\n\u003cp>Hauer spent five years with a small troupe bringing theater to rural Holland. He made his film debut in the saucy \u003cem>Turkish Delight\u003c/em>, nominated for an Oscar as best foreign-language film of 1973.\u003c/p>\n\u003cp>Earlier in his career, a Hollywood agent suggested changing his name to something easier for the American public to learn. The actor declined. “If you’re good enough, people will remember your name,” he explained.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his wife of 50 years, Ineke ten Cate, and a daughter, actress Aysha Hauer, from a previous marriage.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NEW YORK (AP) — Dutch film actor Rutger Hauer, who specialized in menacing roles, including a memorable turn as a murderous android in “Blade Runner” opposite Harrison Ford, has died. He was 75.\u003c/p>\n\u003cp>Hauer’s agent, Steve Kenis, says the actor died July 19 at his home in the Netherlands.\u003c/p>\n\u003cp>Hauer’s roles included a terrorist in \u003cem>Nighthawks\u003c/em> with Sylvester Stallone, Cardinal Roark in \u003cem>Sin City\u003c/em> and playing an evil corporate executive in\u003cem> Batman Begins\u003c/em>. He was in the big-budget 1985 fantasy \u003cem>Ladyhawke\u003c/em>, portrayed a menacing hitchhiker who’s picked up by a murderer in the Mojave Desert in \u003cem>The Hitcher\u003c/em> and won a supporting-actor Golden Globe award in 1988 for \u003cem>Escape from Sobibor\u003c/em>.\u003c/p>\n\u003cp>“He was always a gentleman, kind and compassionate. Sending our condolences and prayers to his family, friends and fans,” Gene Simmons, the KISS bassist who starred opposite Hauer in \u003cem>Wanted: Dead or Alive\u003c/em>, wrote on Twitter.\u003c/p>\n\u003cp>In \u003cem>Blade Runner\u003c/em>, Hauer played the murderous replicant Roy Batty on a desperate quest to prolong his artificially shortened life in post-apocalyptic, 21st-century Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his dying, rain-soaked soliloquy, he looked back at his extraordinary existence. “All those moments will be lost in time. Like tears in rain. Time to die,” he said.\u003c/p>\n\u003cp>“It’s so much fun to playfully roam into the dark side of the soul and tease people,” the actor told The Associated Press in 1987. “If you try to work on human beings’ light side, that’s harder. What is good is hard. Most people try to be good all their lives. So you have to work harder to make those characters interesting.”\u003c/p>\n\u003cp>Hauer’s ruggedly handsome face, blue eyes and strong physique drew the attention of American producers in such international successes as \u003cem>Turkish Delight\u003c/em>, \u003cem>Spetters\u003c/em> and \u003cem>Soldier of Orange\u003c/em>. The offers from the United States came as a surprise to Hauer, who faced the same uncertain future experienced by other Dutch film actors.\u003c/p>\n\u003cp>“We make about 10 films a year, all in Dutch,” he recalled. “You act for your own community, basically, which is fine. But you can’t live on it. There is also the danger of overexposure; you can’t be too greedy.” After the world recognition for \u003cem>Soldier of Orange\u003c/em>, a friend suggested Hauer might be able to find work in American films.\u003c/p>\n\u003cp>Hauer was born in the Netherlands village of Breukelen. His parents were actors but he had little concentration for school and at 15 ran away as a seaman on a freighter. That didn’t take, nor did a stint in the army, and his parents decided he was destined to follow the family profession. Rutger enrolled in acting school.\u003c/p>\n\u003cp>Hauer spent five years with a small troupe bringing theater to rural Holland. He made his film debut in the saucy \u003cem>Turkish Delight\u003c/em>, nominated for an Oscar as best foreign-language film of 1973.\u003c/p>\n\u003cp>Earlier in his career, a Hollywood agent suggested changing his name to something easier for the American public to learn. The actor declined. “If you’re good enough, people will remember your name,” he explained.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his wife of 50 years, Ineke ten Cate, and a daughter, actress Aysha Hauer, from a previous marriage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Daniel Kremer’s endlessly intriguing independent feature, \u003cem>Overwhelm the Sky\u003c/em>, probes and plays with the entwined myths that drove San Francisco’s romantic reputation for much of the 20th century: An open-handed, open-minded haven for creative, quasi-intellectual seekers and seers, and a gateway to the wild-open West for restless wanderers and self-sufficient loners.\u003c/p>\n\u003cp>Eddie Huntly, recently arrived from the other coast, inherits an acquaintance’s job hosting a late-night interview and call-in program. The show’s fringey guests, who appeal to an audience of insomniacs, and the characters that Eddie encounters on his walks in Golden Gate Park, are oddballs and outsiders of one variety or another.\u003c/p>\n\u003cp>Like a noir hero—or victim—of yore, Huntly lives in a world of handwritten letters, LPs, landlines and pay phones. And, appropriately, evocative black-and-white cinematography, courtesy of DP Aaron Hollander. I probably don’t have to tell you that Eddy is also haunted—by the death of his close friend (a tech entrepreneur, in a nod to the world \u003cem>we\u003c/em> live in) in a mugging in our great park. \u003c/p>\n\u003cfigure id=\"attachment_13861918\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg\" alt=\"Still from 'Overwhelm the Sky.'\" width=\"1250\" height=\"600\" class=\"size-full wp-image-13861918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1200x576.jpg 1200w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Overwhelm the Sky.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kremer and Hollander were inspired by Charles Brockden Brown’s 1899 novel \u003cem>Edgar Huntly, or Memories of a Sleepwalker\u003c/em>, and they have crafted, in collaboration with lead Alexander Hero and a cast of well-grounded, improvisation-oriented actors, a breezily enigmatic yarn that hangs out in the unincorporated territory between waking and dreaming, and reality and paranoia.\u003c/p>\n\u003cp>\u003cem>Overwhelm the Sky\u003c/em> is inevitably descended from a host of San Francisco touchstones, which in this case adds to one’s viewing pleasure. The ill-fated protagonist of Frank Norris’ \u003cem>McTeague\u003c/em> comes to mind, especially if you recall his deluded, desperate trip to the desert in \u003cem>Greed\u003c/em>, Erich Von Stroheim’s timeless silent screen adaptation. The restless urban energy of the Beats, the nocturnal yearnings of local filmmaker Rob Nilsson’s tough-luck characters (he makes a too-short cameo in \u003cem>Overwhelm the Sky\u003c/em>), the hard edge of American-style capitalism that underlies and sabotages relationships in Jon Jost’s films—it’s there if you want to see it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Overwhelm the Sky\u003c/em> plays one night only, July 28 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/overwhelm-the-sky/?instance_id=35187\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, in a dressed-up, 1960s-era roadshow format that includes an overture, intermission, entr’acte, printed programs (!) and more. Daniel Kremer does not lack for ambition, persistence, bravery and talent, and his work deserves a wider audience. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniel Kremer’s endlessly intriguing independent feature, \u003cem>Overwhelm the Sky\u003c/em>, probes and plays with the entwined myths that drove San Francisco’s romantic reputation for much of the 20th century: An open-handed, open-minded haven for creative, quasi-intellectual seekers and seers, and a gateway to the wild-open West for restless wanderers and self-sufficient loners.\u003c/p>\n\u003cp>Eddie Huntly, recently arrived from the other coast, inherits an acquaintance’s job hosting a late-night interview and call-in program. The show’s fringey guests, who appeal to an audience of insomniacs, and the characters that Eddie encounters on his walks in Golden Gate Park, are oddballs and outsiders of one variety or another.\u003c/p>\n\u003cp>Like a noir hero—or victim—of yore, Huntly lives in a world of handwritten letters, LPs, landlines and pay phones. And, appropriately, evocative black-and-white cinematography, courtesy of DP Aaron Hollander. I probably don’t have to tell you that Eddy is also haunted—by the death of his close friend (a tech entrepreneur, in a nod to the world \u003cem>we\u003c/em> live in) in a mugging in our great park. \u003c/p>\n\u003cfigure id=\"attachment_13861918\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg\" alt=\"Still from 'Overwhelm the Sky.'\" width=\"1250\" height=\"600\" class=\"size-full wp-image-13861918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1200x576.jpg 1200w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Overwhelm the Sky.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kremer and Hollander were inspired by Charles Brockden Brown’s 1899 novel \u003cem>Edgar Huntly, or Memories of a Sleepwalker\u003c/em>, and they have crafted, in collaboration with lead Alexander Hero and a cast of well-grounded, improvisation-oriented actors, a breezily enigmatic yarn that hangs out in the unincorporated territory between waking and dreaming, and reality and paranoia.\u003c/p>\n\u003cp>\u003cem>Overwhelm the Sky\u003c/em> is inevitably descended from a host of San Francisco touchstones, which in this case adds to one’s viewing pleasure. The ill-fated protagonist of Frank Norris’ \u003cem>McTeague\u003c/em> comes to mind, especially if you recall his deluded, desperate trip to the desert in \u003cem>Greed\u003c/em>, Erich Von Stroheim’s timeless silent screen adaptation. The restless urban energy of the Beats, the nocturnal yearnings of local filmmaker Rob Nilsson’s tough-luck characters (he makes a too-short cameo in \u003cem>Overwhelm the Sky\u003c/em>), the hard edge of American-style capitalism that underlies and sabotages relationships in Jon Jost’s films—it’s there if you want to see it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "John Waters Talks Microdosing, Homelessness, and Cops in Pride Before Burger Boogaloo",
"headTitle": "John Waters Talks Microdosing, Homelessness, and Cops in Pride Before Burger Boogaloo | KQED",
"content": "\u003cp>The filmmaker and writer John Waters has since 2008 kept a home in San Francisco, but he reserves comparisons to his beloved Baltimore for the city that calls itself the town—Oakland. \u003c/p>\n\u003cp>Every year since 2015, Waters has hosted \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, an Oakland punk and garage rock festival serving a scene that regards him, the sultan of sleaze, as a sort of patron saint. His cult filmography with “Dreamlanders” Divine, Mink Stole and Edith Massey brought the delectable camp of the \u003ca href=\"https://youtu.be/TDHmgGHzDW0\" rel=\"noopener\" target=\"_blank\">Cockettes\u003c/a> into settings and storylines worthy of the most sordid paperback pulp, modeling a style of queer provocation with abiding underground and pop culture resonance. [aside postID=arts_13848767]\u003c/p>\n\u003cp>Waters, with his impish smile and pencil moustache, is as much a draw of the Boogaloo as this year’s headliners Jesus & Mary Chain, Scientists and the Dead Boys. Rounding out the festival, running Saturday, July 6 and Sunday, July 7 in Mosswood Park, are budget-rock legends Phantom Surfers and contemporary acts including Shannon & the Clams and Sheer Mag. \u003c/p>\n\u003cp>In the interview below, edited for clarity and concision, Waters discusses dropping acid as a senior citizen—an experience described in his most recent book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\u003c/em>—as well as his impressions of homelessness in the Bay Area and controversy surrounding cops in San Francisco Pride. \u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Ed. Note\u003c/strong>: This is John Waters, y’all—you know what you’re getting. Obscenity, drugs, and references to sex acts follow.]\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Acid is big in Silicon Valley among the tech set. Are they doing it right? \u003c/strong>\u003c/p>\n\u003cp>Oh, but you’re talking about pussy little microdoses. I think that’s cowardly. If you’re going to trip, let’s trip. I wanted a full blown trip like I remember from 50 years ago, and I got one. But I’m not telling young people what to do. I’m telling old people that had good experiences with it to do it with some old friends you did it with back then as like a sort of high school reunion.\u003c/p>\n\u003cp>\u003cstrong>So you’re not recommending anyone dose at Burger Boogaloo?\u003c/strong>\u003c/p>\n\u003cp>No, I’m not telling anyone to take it at Burger Boogaloo, but God knows, I don’t have to tell anybody what to do at Burger Boogaloo. I’m their host, not their moral guardian. I was a drug enthusiast, I never had a drug problem. Each person has a different experience with drugs—some people instantly become junkies. But I haven’t had a bad trip in my life! \u003c/p>\n\u003cp>\u003cstrong>Would you say punk or garage rock lends itself to the psychedelic experience? \u003c/strong>\u003c/p>\n\u003cp>Not especially. When I tripped, I listed to Dionne Warwick and the soundtrack to \u003cem>Born Free\u003c/em>, and Fellini albums, so not exactly new wave.\u003c/p>\n\u003cp>\u003cstrong>In your previous book you hitchhiked across the country, and in this book you dropped acid. What’s next, joining a cult? Hare Krishna? \u003c/strong>\u003c/p>\n\u003cp>God no, I had enough experiences with a friend in a cult to make me never, ever want to join one. Hare Krishna, I did that material in \u003cem>Female Trouble\u003c/em>: Divine’s daughter goes Hare Krishna, so she kills her. Are there still Hare Krishnas? I don’t see them bothering people in airports.\u003c/p>\n\u003cfigure id=\"attachment_13860389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg\" alt=\"John Waters is patron saint of the scenes represented at Burger Boogaloo\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13860389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters is patron saint of the scenes represented at Burger Boogaloo. \u003ccite>(Lily Chou/Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s 2019 and you’re hosting a festival with the Dead Boys.\u003c/strong>\u003c/p>\n\u003cp>I know, it’s very strange—the only Dead Boy I really knew is dead. Stiv [Bators] was a friend, and he was \u003ca href=\"https://www.youtube.com/watch?v=fZpxb5BIiig\">great in \u003cem>Polyester\u003c/em>\u003c/a>, which is being re-released again, by Criterion. I just saw the cover. I haven’t seen Cheetah [Chrome] since CBGB in the ’70s. I’m looking forward to it. I love meeting all of the bands. One I’m really interested in seeing is Amyl and the Sniffers. \u003c/p>\n\u003cp>\u003cstrong>We have Pride right now in San Francisco, and there’s some \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\">controversy\u003c/a> about whether or not cops should have floats and march in the parade. What do you think? \u003c/strong>\u003c/p>\n\u003cp>Yes, of course they should. First of all, I haven’t been to the gay parade in San Francisco for a while, but the one in New York feels like it’s mostly straight people. I don’t mind the cops in parades. Why wouldn’t they be? I mean, not all cops are homophobic. \u003c/p>\n\u003cp>\u003cstrong>I think it’s because of the legacy of cops repressing queer and transgender people.\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m sure there are incidents of homophobic cops. I’m not saying that doesn’t happen, but I’ve also seen police guarding people fist-fucking at the Folsom Street Fair! \u003c/p>\n\u003cfigure id=\"attachment_13860390\" class=\"wp-caption alignright\" style=\"max-width: 219px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters.jpg\" alt=\"John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore.\" width=\"219\" height=\"300\" class=\"size-full wp-image-13860390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters.jpg 219w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-160x219.jpg 160w\" sizes=\"(max-width: 219px) 100vw, 219px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore. \u003ccite>(Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Speaking of controversies, last year Burger Boogaloo was \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\">criticized\u003c/a> after Oakland cops had cleared the park of homeless people. Do you think the festival could have handled that better?\u003c/strong>\u003c/p>\n\u003cp>Well, I think [festival organizer] Marc [Ribak] has been very sensitive to people’s opinions. This year I know we have one stage, because we’re actually sharing the park with the homeless. \u003c/p>\n\u003cp>\u003cstrong>You’ve had a place in San Francisco for years, so you’ve noticed the uptick in people living on the streets. What does it say about the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Every city now is just rich people and very poor people. There’s no middle left, except Baltimore. What’s different about San Francisco is it’s so visible. In L.A., it’s worse, but most people never see. I was shocked the first time I saw Skid Row. Here you see someone nude in the street, shooting up in the middle of the day and think, wow, it’s so liberal here. They allow that? \u003c/p>\n\u003cp>\u003cstrong>What do you say to people who want these folks swept up and shipped off or in jail? \u003c/strong>\u003c/p>\n\u003cp>Does anybody in San Francisco want to put the homeless in jail? I never heard anybody be that right-wing.\u003c/p>\n\u003cp>\u003cstrong>I’m thinking about the controversy around navigation centers—a lot of people don’t want the homeless shelters and services in their neighborhoods. \u003c/strong>\u003c/p>\n\u003cp>Well I’m not going to be a hypocrite, if they opened one next to my house, I wouldn’t be happy about it either. It’s becoming like Mortville. That’s what I think it’s going to be like at Mosswood Park this year, kind of like Mortville in my movie \u003cem>Desperate Living\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo takes place June 6–7, 2019, at Mosswood Park in Oakland. \u003ca href=\"http://burgerboogaloo.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker and writer John Waters has since 2008 kept a home in San Francisco, but he reserves comparisons to his beloved Baltimore for the city that calls itself the town—Oakland. \u003c/p>\n\u003cp>Every year since 2015, Waters has hosted \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, an Oakland punk and garage rock festival serving a scene that regards him, the sultan of sleaze, as a sort of patron saint. His cult filmography with “Dreamlanders” Divine, Mink Stole and Edith Massey brought the delectable camp of the \u003ca href=\"https://youtu.be/TDHmgGHzDW0\" rel=\"noopener\" target=\"_blank\">Cockettes\u003c/a> into settings and storylines worthy of the most sordid paperback pulp, modeling a style of queer provocation with abiding underground and pop culture resonance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters, with his impish smile and pencil moustache, is as much a draw of the Boogaloo as this year’s headliners Jesus & Mary Chain, Scientists and the Dead Boys. Rounding out the festival, running Saturday, July 6 and Sunday, July 7 in Mosswood Park, are budget-rock legends Phantom Surfers and contemporary acts including Shannon & the Clams and Sheer Mag. \u003c/p>\n\u003cp>In the interview below, edited for clarity and concision, Waters discusses dropping acid as a senior citizen—an experience described in his most recent book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\u003c/em>—as well as his impressions of homelessness in the Bay Area and controversy surrounding cops in San Francisco Pride. \u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Ed. Note\u003c/strong>: This is John Waters, y’all—you know what you’re getting. Obscenity, drugs, and references to sex acts follow.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Acid is big in Silicon Valley among the tech set. Are they doing it right? \u003c/strong>\u003c/p>\n\u003cp>Oh, but you’re talking about pussy little microdoses. I think that’s cowardly. If you’re going to trip, let’s trip. I wanted a full blown trip like I remember from 50 years ago, and I got one. But I’m not telling young people what to do. I’m telling old people that had good experiences with it to do it with some old friends you did it with back then as like a sort of high school reunion.\u003c/p>\n\u003cp>\u003cstrong>So you’re not recommending anyone dose at Burger Boogaloo?\u003c/strong>\u003c/p>\n\u003cp>No, I’m not telling anyone to take it at Burger Boogaloo, but God knows, I don’t have to tell anybody what to do at Burger Boogaloo. I’m their host, not their moral guardian. I was a drug enthusiast, I never had a drug problem. Each person has a different experience with drugs—some people instantly become junkies. But I haven’t had a bad trip in my life! \u003c/p>\n\u003cp>\u003cstrong>Would you say punk or garage rock lends itself to the psychedelic experience? \u003c/strong>\u003c/p>\n\u003cp>Not especially. When I tripped, I listed to Dionne Warwick and the soundtrack to \u003cem>Born Free\u003c/em>, and Fellini albums, so not exactly new wave.\u003c/p>\n\u003cp>\u003cstrong>In your previous book you hitchhiked across the country, and in this book you dropped acid. What’s next, joining a cult? Hare Krishna? \u003c/strong>\u003c/p>\n\u003cp>God no, I had enough experiences with a friend in a cult to make me never, ever want to join one. Hare Krishna, I did that material in \u003cem>Female Trouble\u003c/em>: Divine’s daughter goes Hare Krishna, so she kills her. Are there still Hare Krishnas? I don’t see them bothering people in airports.\u003c/p>\n\u003cfigure id=\"attachment_13860389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg\" alt=\"John Waters is patron saint of the scenes represented at Burger Boogaloo\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13860389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters is patron saint of the scenes represented at Burger Boogaloo. \u003ccite>(Lily Chou/Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s 2019 and you’re hosting a festival with the Dead Boys.\u003c/strong>\u003c/p>\n\u003cp>I know, it’s very strange—the only Dead Boy I really knew is dead. Stiv [Bators] was a friend, and he was \u003ca href=\"https://www.youtube.com/watch?v=fZpxb5BIiig\">great in \u003cem>Polyester\u003c/em>\u003c/a>, which is being re-released again, by Criterion. I just saw the cover. I haven’t seen Cheetah [Chrome] since CBGB in the ’70s. I’m looking forward to it. I love meeting all of the bands. One I’m really interested in seeing is Amyl and the Sniffers. \u003c/p>\n\u003cp>\u003cstrong>We have Pride right now in San Francisco, and there’s some \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\">controversy\u003c/a> about whether or not cops should have floats and march in the parade. What do you think? \u003c/strong>\u003c/p>\n\u003cp>Yes, of course they should. First of all, I haven’t been to the gay parade in San Francisco for a while, but the one in New York feels like it’s mostly straight people. I don’t mind the cops in parades. Why wouldn’t they be? I mean, not all cops are homophobic. \u003c/p>\n\u003cp>\u003cstrong>I think it’s because of the legacy of cops repressing queer and transgender people.\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m sure there are incidents of homophobic cops. I’m not saying that doesn’t happen, but I’ve also seen police guarding people fist-fucking at the Folsom Street Fair! \u003c/p>\n\u003cfigure id=\"attachment_13860390\" class=\"wp-caption alignright\" style=\"max-width: 219px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters.jpg\" alt=\"John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore.\" width=\"219\" height=\"300\" class=\"size-full wp-image-13860390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters.jpg 219w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-160x219.jpg 160w\" sizes=\"(max-width: 219px) 100vw, 219px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore. \u003ccite>(Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Speaking of controversies, last year Burger Boogaloo was \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\">criticized\u003c/a> after Oakland cops had cleared the park of homeless people. Do you think the festival could have handled that better?\u003c/strong>\u003c/p>\n\u003cp>Well, I think [festival organizer] Marc [Ribak] has been very sensitive to people’s opinions. This year I know we have one stage, because we’re actually sharing the park with the homeless. \u003c/p>\n\u003cp>\u003cstrong>You’ve had a place in San Francisco for years, so you’ve noticed the uptick in people living on the streets. What does it say about the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Every city now is just rich people and very poor people. There’s no middle left, except Baltimore. What’s different about San Francisco is it’s so visible. In L.A., it’s worse, but most people never see. I was shocked the first time I saw Skid Row. Here you see someone nude in the street, shooting up in the middle of the day and think, wow, it’s so liberal here. They allow that? \u003c/p>\n\u003cp>\u003cstrong>What do you say to people who want these folks swept up and shipped off or in jail? \u003c/strong>\u003c/p>\n\u003cp>Does anybody in San Francisco want to put the homeless in jail? I never heard anybody be that right-wing.\u003c/p>\n\u003cp>\u003cstrong>I’m thinking about the controversy around navigation centers—a lot of people don’t want the homeless shelters and services in their neighborhoods. \u003c/strong>\u003c/p>\n\u003cp>Well I’m not going to be a hypocrite, if they opened one next to my house, I wouldn’t be happy about it either. It’s becoming like Mortville. That’s what I think it’s going to be like at Mosswood Park this year, kind of like Mortville in my movie \u003cem>Desperate Living\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo takes place June 6–7, 2019, at Mosswood Park in Oakland. \u003ca href=\"http://burgerboogaloo.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'The Dead Don't Die,' Jim Jarmusch's Ghouls Close in on Chloë Sevigny",
"headTitle": "In ‘The Dead Don’t Die,’ Jim Jarmusch’s Ghouls Close in on Chloë Sevigny | KQED",
"content": "\u003cp>Chloë Sevigny isn’t giving away any of Jim Jarmusch’s secrets. \u003c/p>\n\u003cp>In his new zombie-filled movie \u003cem>The Dead Don’t Die\u003c/em>, the director peppers one of her co-star’s lines with a meta-commentary about having read the script of “Jim’s movie” and the Sturgill Simpson title song that keeps playing on the soundtrack. Having inside information about the plot, Adam Driver, as Officer Ronald Peterson, repeats this phrase every time his small town police force encounters a dead body, “Oh, man. This isn’t gonna end well.”\u003c/p>\n\u003cp>As the living and the undead start to bump into each other, the audience starts to trust Officer Peterson’s assessment of the situation. It’s the driest performance in a laconic movie that suits Jarmusch’s graphic novelistic approach to the subject. As such, it’s easy to imagine speech bubbles appearing right next to the characters’ heads.\u003c/p>\n\u003cp>Driver’s part of a trio of officers alongside Bill Murray as their chief \u003ca href=\"https://www.nytimes.com/2011/09/11/movies/cliff-robertson-oscar-winning-rebel-dies-at-88.html\" target=\"_blank\" rel=\"noopener\">Cliff Robertson\u003c/a> (also the name of an Oscar-winning actor goes, but a name is all they share), and Sevigny as the increasingly unnerved Officer Minerva Morrison. \u003c/p>\n\u003cfigure id=\"attachment_13859556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/iggy.jpg\" alt=\"Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first call to the actress went straight to her voicemail. At the beep, I hear, “If I’m going to die, I want to die in Manhattan.” On my second call, Sevigny confirms that the recording is Pete Campbell’s voice from season two of \u003cem>Mad Men\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What she can’t confirm is why Driver breaks the fourth wall: “I don’t know why he [Jarmusch] put that in there, but I love it. It’s one of my favorite parts of the movie. I love when actors turn to the camera,” she says. \u003c/p>\n\u003cp>Partly as a result, \u003cem>The Dead Don’t Die\u003c/em> may be the un-scariest, most deadpan, zombie movie ever made. It’s a black comedy colored red by piles of guts and spattered gray matter. When Driver (who’s never really in character) comes across the first zombie victims, his response is a carefully measured and wholly accurate, “yuck.”\u003c/p>\n\u003cp>Jarmusch amps up the campy humor with cameo appearances from a beloved, easily recognizable supporting cast. Iggy Pop finds the role of a lifetime as a yellow-eyed ghoul who introduces himself by pushing his hands up from a grave. Carol Kane utters only one word from her undead mouth, “chardonnay.” And, per usual, Tilda Swinton adds her own alien quality to the mix. In this incarnation, her skin is nearly translucent as she wields a samurai sword with the verve and dexterity of \u003cem>The Walking Dead\u003c/em>’s Michonne.\u003c/p>\n\u003cfigure id=\"attachment_13859558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/tilda.jpg\" alt=\"Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the audience’s point of view, it looks like the actors are having a ball. But Sevigny says there wasn’t room for messing around. “It was also very stressful though because Adam was going to shoot \u003cem>Star Wars\u003c/em> [\u003cem>The Rise of Skywalker\u003c/em>], so we didn’t have a lot of time,” she says. “There was a real cap on the days that we could have with him.” Despite those time constraints, Jarmusch managed to create a consistently mordant mood throughout the movie.\u003c/p>\n\u003cp>I ask about a scene she shares with Swinton in \u003cem>The Dead Don’t Die\u003c/em>. “I love Tilda. I love working with her and just being around her and basking in her glow,” she says. “That scene was one of my favorite scenes to do. Minny was very curious about her. They [the officers] talk about her before that scene and I think that they were flirting a little bit.”\u003c/p>\n\u003cp>Sevigny, who previously worked with the director on \u003ca href=\"http://www.focusfeatures.com/broken_flowers\" target=\"_blank\" rel=\"noopener\">\u003ci>Broken Flowers\u003c/i>\u003c/a>, tried to explain how he achieves his particular style. “I think that’s just on the page,” she says. “It’s just in the dialogue … the tone of it. Jim likes to watch people think. He likes a lot of breath between lines and the rhythm is very specific. I don’t think that he even says anything about it.”\u003c/p>\n\u003cp>And with that short bit of reporting, she keeps the Jarmusch mystique intact. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.focusfeatures.com/the-dead-dont-die\" target=\"_blank\" rel=\"noopener\">The Dead Don’t Die\u003c/a>\u003c/em> opens Friday, June 13 at the AMC Kabuki, Landmark Embarcadero Center Cinema and Alamo Drafthouse Cinema.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chloë Sevigny isn’t giving away any of Jim Jarmusch’s secrets. \u003c/p>\n\u003cp>In his new zombie-filled movie \u003cem>The Dead Don’t Die\u003c/em>, the director peppers one of her co-star’s lines with a meta-commentary about having read the script of “Jim’s movie” and the Sturgill Simpson title song that keeps playing on the soundtrack. Having inside information about the plot, Adam Driver, as Officer Ronald Peterson, repeats this phrase every time his small town police force encounters a dead body, “Oh, man. This isn’t gonna end well.”\u003c/p>\n\u003cp>As the living and the undead start to bump into each other, the audience starts to trust Officer Peterson’s assessment of the situation. It’s the driest performance in a laconic movie that suits Jarmusch’s graphic novelistic approach to the subject. As such, it’s easy to imagine speech bubbles appearing right next to the characters’ heads.\u003c/p>\n\u003cp>Driver’s part of a trio of officers alongside Bill Murray as their chief \u003ca href=\"https://www.nytimes.com/2011/09/11/movies/cliff-robertson-oscar-winning-rebel-dies-at-88.html\" target=\"_blank\" rel=\"noopener\">Cliff Robertson\u003c/a> (also the name of an Oscar-winning actor goes, but a name is all they share), and Sevigny as the increasingly unnerved Officer Minerva Morrison. \u003c/p>\n\u003cfigure id=\"attachment_13859556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/iggy.jpg\" alt=\"Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first call to the actress went straight to her voicemail. At the beep, I hear, “If I’m going to die, I want to die in Manhattan.” On my second call, Sevigny confirms that the recording is Pete Campbell’s voice from season two of \u003cem>Mad Men\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What she can’t confirm is why Driver breaks the fourth wall: “I don’t know why he [Jarmusch] put that in there, but I love it. It’s one of my favorite parts of the movie. I love when actors turn to the camera,” she says. \u003c/p>\n\u003cp>Partly as a result, \u003cem>The Dead Don’t Die\u003c/em> may be the un-scariest, most deadpan, zombie movie ever made. It’s a black comedy colored red by piles of guts and spattered gray matter. When Driver (who’s never really in character) comes across the first zombie victims, his response is a carefully measured and wholly accurate, “yuck.”\u003c/p>\n\u003cp>Jarmusch amps up the campy humor with cameo appearances from a beloved, easily recognizable supporting cast. Iggy Pop finds the role of a lifetime as a yellow-eyed ghoul who introduces himself by pushing his hands up from a grave. Carol Kane utters only one word from her undead mouth, “chardonnay.” And, per usual, Tilda Swinton adds her own alien quality to the mix. In this incarnation, her skin is nearly translucent as she wields a samurai sword with the verve and dexterity of \u003cem>The Walking Dead\u003c/em>’s Michonne.\u003c/p>\n\u003cfigure id=\"attachment_13859558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/tilda.jpg\" alt=\"Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the audience’s point of view, it looks like the actors are having a ball. But Sevigny says there wasn’t room for messing around. “It was also very stressful though because Adam was going to shoot \u003cem>Star Wars\u003c/em> [\u003cem>The Rise of Skywalker\u003c/em>], so we didn’t have a lot of time,” she says. “There was a real cap on the days that we could have with him.” Despite those time constraints, Jarmusch managed to create a consistently mordant mood throughout the movie.\u003c/p>\n\u003cp>I ask about a scene she shares with Swinton in \u003cem>The Dead Don’t Die\u003c/em>. “I love Tilda. I love working with her and just being around her and basking in her glow,” she says. “That scene was one of my favorite scenes to do. Minny was very curious about her. They [the officers] talk about her before that scene and I think that they were flirting a little bit.”\u003c/p>\n\u003cp>Sevigny, who previously worked with the director on \u003ca href=\"http://www.focusfeatures.com/broken_flowers\" target=\"_blank\" rel=\"noopener\">\u003ci>Broken Flowers\u003c/i>\u003c/a>, tried to explain how he achieves his particular style. “I think that’s just on the page,” she says. “It’s just in the dialogue … the tone of it. Jim likes to watch people think. He likes a lot of breath between lines and the rhythm is very specific. I don’t think that he even says anything about it.”\u003c/p>\n\u003cp>And with that short bit of reporting, she keeps the Jarmusch mystique intact. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.focusfeatures.com/the-dead-dont-die\" target=\"_blank\" rel=\"noopener\">The Dead Don’t Die\u003c/a>\u003c/em> opens Friday, June 13 at the AMC Kabuki, Landmark Embarcadero Center Cinema and Alamo Drafthouse Cinema.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cine+Más Rocks the Roxie with 'Hecho en Mexico'",
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"content": "\u003cp>Now in its second iteration, \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hecho en Mexico\u003c/em>\u003c/a> brings six nonfiction highlights to San Francisco after a banner year for Mexican cinema. Screening June 14–17, the collaboration between \u003cem>\u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más \u003c/a>\u003c/em> and \u003ca href=\"http://www.roxie.com/roxcine/\" target=\"_blank\" rel=\"noopener\">RoxCine\u003c/a> offers a rare opportunity to see award-winning documentaries on the big screen and meet their creators.\u003c/p>\n\u003cp>[aside postID='arts_13858037']\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\u003c/p>\n\u003cp>https://youtu.be/OZfAlqFoWHY\u003c/p>\n\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\n\u003cp>https://vimeo.com/292638670\u003c/p>\n\u003cp>\u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">Hecho en Mexico\u003c/a>\u003cem> is presented by \u003ca href=\"http://www.roxie.com/roxcine/\">RoxCine\u003c/a> with support from \u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más San Francisco Latino Film Festival\u003c/a>, \u003ca href=\"https://www.podersf.org/\">P\u003c/a>\u003ca href=\"https://www.podersf.org/\">ODER SF \u003c/a>and the General Consulate of Mexico in San Francisco. More information on the screenings and Q&As can be found \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its second iteration, \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hecho en Mexico\u003c/em>\u003c/a> brings six nonfiction highlights to San Francisco after a banner year for Mexican cinema. Screening June 14–17, the collaboration between \u003cem>\u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más \u003c/a>\u003c/em> and \u003ca href=\"http://www.roxie.com/roxcine/\" target=\"_blank\" rel=\"noopener\">RoxCine\u003c/a> offers a rare opportunity to see award-winning documentaries on the big screen and meet their creators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I harbor no nostalgia for John Wayne the man. The actor, however, was unsurpassed at embodying the greatest of American ideals: That the manifestly imperfect United States aspired to be, and strove to be through the leadership of moral men, a more just, fair and protective society for everyone. If it feels more like an illusion than an ideal these days, don’t blame Hollywood.\u003c/p>\n\u003cp>Wayne was blessed, courtesy of the authoritarian director John Ford, with one of the great movie entrances of all time. We hear plenty about the Ringo Kid while we’re introduced to the passengers of \u003cem>Stagecoach\u003c/em> (1939), and the payoff for all that anticipation is irresistible: Towering and virile at the side of the trail, spinning his rifle with confidence and style, Wayne galvanizes the audience’s attention as well as everyone in the coach.\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> (Sunday, June 16 at 11am at \u003ca href=\"https://drafthouse.com/sf/show/stagecoach\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a>) wasn’t Wayne’s screen debut, however, or even his first starring role. Raoul Walsh had chosen him to lead \u003cem>The Big Trail\u003c/em> (1930), and Ford punished Wayne for the best part of a decade before yanking him out of the doghouse.\u003c/p>\n\u003cp>https://youtu.be/OE-VWDsdkwM\u003c/p>\n\u003cp>Westerns were Hollywood’s bread and butter for decades, and \u003cem>Stagecoach\u003c/em> still stands as one the most entertaining and satisfying films ever made in the genre. The passengers—a selfish Yankee banker, a Confederate veteran (and Southern gentleman), a soldier’s pregnant wife, a ruined and alcoholic doctor, a dance hall girl—provide a microcosm of both post-Civil War and post-Depression America, and you’d be surprised how many lines hit home in today’s climate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> is also a foundational classic that laid out types and templates that have influenced Westerns (and neo-Westerns) to this day. The last story in \u003cem>The Ballad of Buster Scruggs\u003c/em> is a direct homage, albeit infused with the Coen Bros.’ postmodern existentialism. The greatest tribute, though, may well be \u003cem>The Hateful Eight\u003c/em>, whose tedious, protracted stagecoach-set beginning only illustrates John Ford’s economy and brilliance. As well as Ford’s talent for creating a distinctive persona for actors like John Wayne, rather than riffing ironically on established personas.\u003c/p>\n\n",
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"content": "\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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