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"content": "\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. 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"content": "\u003cp>“A year ago, I was reading Kafka,” Marco Saavedra tells us early in \u003cem>The Infiltrators\u003c/em>. “Now I was living it.” Born in Mexico and raised and educated in Massachusetts, he had cannily and bravely let himself be captured by authorities in 2012 with the goal of landing at Broward Transitional Center. Once inside the under-the-radar Florida detention facility (operated by a for-profit company with a contract from ICE to house non-criminal men allegedly in the U.S. without proper documentation), Marco’s mission was to help the inmates and expose the facility.\u003c/p>\n\u003cp>Cristina Ibarra and Alex Rivera’s vital and important film, which mixes and matches documentary footage with reenactments, took home a couple of Sundance awards and is being developed as a scripted TV series. \u003cem>The Infiltrators\u003c/em> (Saturday, Sept. 21 at Alamo Drafthouse) is one of several films in the \u003ca href=\"https://sflatinofilmfestival.org/2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>—Sept. 20–29 primarily at Drafthouse, the Roxie and the Opera Plaza Cinema—that’s set in the past yet feels utterly \u003cem>right now\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13866648\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg\" alt=\"Still from Alex Rivera and Cristina Ibarra's documentary 'The Infiltrators,' 2019.\" width=\"1536\" height=\"866\" class=\"size-full wp-image-13866648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1200x677.jpg 1200w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Still from Alex Rivera and Cristina Ibarra’s documentary ‘The Infiltrators,’ 2019. \u003ccite>(Courtesy of the filmmakers and SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acutely emotional Venezuelan drama \u003cem>Little Histories\u003c/em> (\u003cem>Historias Pequeñas\u003c/em>) (Saturday, Sept. 21 at the Roxie) is set during the bizarro days of the 2002 coup against President Hugo Chavez. The political events (or big history, if you will) form the background to five domestic scenarios that are parables of moral failings and triumphs. Writer-director Rafael Marziano overlays the personal and the political in both subtle and obvious ways that reveal the fault lines throughout Venezuelan society.\u003c/p>\n\u003cp>The lush opening night film, \u003cem>Yuli\u003c/em>, reaches back in time to trace the journey of Afro-Cuban dancer and choreographer Carlos Acosta from the Michael Jackson-inspired breakdance routines he showcased as a boy to his triumphs with the Royal Ballet in London. Based on Acosta’s autobiography and featuring Acosta himself, Icíar Bollaín’s full-blooded biopic encompasses a vast swath of terrain—psychic, artistic, emotional and historical. Festival season has begun, and you don’t want to miss a step.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A year ago, I was reading Kafka,” Marco Saavedra tells us early in \u003cem>The Infiltrators\u003c/em>. “Now I was living it.” Born in Mexico and raised and educated in Massachusetts, he had cannily and bravely let himself be captured by authorities in 2012 with the goal of landing at Broward Transitional Center. Once inside the under-the-radar Florida detention facility (operated by a for-profit company with a contract from ICE to house non-criminal men allegedly in the U.S. without proper documentation), Marco’s mission was to help the inmates and expose the facility.\u003c/p>\n\u003cp>Cristina Ibarra and Alex Rivera’s vital and important film, which mixes and matches documentary footage with reenactments, took home a couple of Sundance awards and is being developed as a scripted TV series. \u003cem>The Infiltrators\u003c/em> (Saturday, Sept. 21 at Alamo Drafthouse) is one of several films in the \u003ca href=\"https://sflatinofilmfestival.org/2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>—Sept. 20–29 primarily at Drafthouse, the Roxie and the Opera Plaza Cinema—that’s set in the past yet feels utterly \u003cem>right now\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13866648\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg\" alt=\"Still from Alex Rivera and Cristina Ibarra's documentary 'The Infiltrators,' 2019.\" width=\"1536\" height=\"866\" class=\"size-full wp-image-13866648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1200x677.jpg 1200w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Still from Alex Rivera and Cristina Ibarra’s documentary ‘The Infiltrators,’ 2019. \u003ccite>(Courtesy of the filmmakers and SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acutely emotional Venezuelan drama \u003cem>Little Histories\u003c/em> (\u003cem>Historias Pequeñas\u003c/em>) (Saturday, Sept. 21 at the Roxie) is set during the bizarro days of the 2002 coup against President Hugo Chavez. The political events (or big history, if you will) form the background to five domestic scenarios that are parables of moral failings and triumphs. Writer-director Rafael Marziano overlays the personal and the political in both subtle and obvious ways that reveal the fault lines throughout Venezuelan society.\u003c/p>\n\u003cp>The lush opening night film, \u003cem>Yuli\u003c/em>, reaches back in time to trace the journey of Afro-Cuban dancer and choreographer Carlos Acosta from the Michael Jackson-inspired breakdance routines he showcased as a boy to his triumphs with the Royal Ballet in London. Based on Acosta’s autobiography and featuring Acosta himself, Icíar Bollaín’s full-blooded biopic encompasses a vast swath of terrain—psychic, artistic, emotional and historical. Festival season has begun, and you don’t want to miss a step.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This is an excerpt of \u003c/em>Planet Money\u003cem>‘s newsletter. You can \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/money\" target=\"_blank\" rel=\"noopener\">sign up here\u003c/a>. \u003c/p>\n\u003cp>The \u003cem>Planet Money \u003c/em>movie reviews desk is normally a pretty sleepy place. There aren’t a lot of blockbusters about economics. But we sure woke up when we recently watched \u003cem>American Factory\u003c/em>, now \u003ca href=\"https://www.netflix.com/title/81090071\" target=\"_blank\" rel=\"noopener\">streaming on Netflix\u003c/a>. It’s directed by Julia Reichert and Steven Bognar. Its backers include Participant Media and the Obamas’ Higher Ground Productions, which is a partner of Netflix.\u003c/p>\n\u003cp>\u003cem>American Factory \u003c/em>doesn’t sound like a barn burner. Disney probably doesn’t have an \u003cem>Avengers: American Factory\u003c/em> in the works. And, yes, \u003cem>American Factory\u003c/em> really is a documentary about a plant in Dayton, Ohio, that makes windshields. \u003c/p>\n\u003cp>But it’s a challenging, strange, eye-opening film. Here at \u003cem>Planet Money\u003c/em>, we’ve all been watching it. As our colleague Alex Goldmark said after he finished it, “My wife and I sat there and looked at each other, and we just didn’t know how to feel.” \u003c/p>\n\u003cp>https://youtu.be/m36QeKOJ2Fc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It would be easy to know how to feel about it if it were just the thing it looks like it set out to be, the usual sympathetic story about the American blue-collar worker, with the expected problems and questions: Factories are shutting down, the unions are in retreat, the bosses stay powerful and rich. These are important stories, but they quickly fall into a kind of pattern of hard work and hopelessness. We mostly know how to feel. \u003c/p>\n\u003cp>It looks like it’s going to be the same at the glass plant in Dayton. But then a Chinese company, Fuyao Glass America, shows up to reopen it. Chinese companies buy American companies all the time. At this point, that shouldn’t be that interesting, either. \u003c/p>\n\u003cp>But Fuyao let the filmmakers film everything. \u003c/p>\n\u003cp>And so \u003cem>American Factory\u003c/em> is only nominally a film about America. The part that is astonishing about \u003cem>American Factory\u003c/em> is seeing everything about the United States through the eyes of Chinese factory workers and managers arriving to reopen and restaff a plant in the rust belt. \u003cem>American Factory\u003c/em> is the view we never get. Americans know how they feel about competing with China. But we don’t know how China feels about working with America. \u003c/p>\n\u003cp>Just minutes in, two workers from China, a couple, stand on a ledge overlooking Dayton. They marvel at the houses, which seem like antique wonders to them. They think it’s beautiful. And on second watching, I took a moment to look at the view, too, and, yeah, Dayton may be an opportunity zone, but it’s underrated. \u003c/p>\n\u003cp>We eavesdrop as a manager tries to explain America to a cafeteria filled with Chinese workers at long white tables, eating food out of foam boxes and wearing neon yellow vests. He wants to help them acclimate. “America is a place to let your personality run free,” he says. “As long as you’re not doing anything illegal, you’re free to follow your heart. You can even joke about the president. Nobody will do anything to you.” He also notes that Americans are “very obvious” and that “everything is practical and realistic.” \u003c/p>\n\u003cp>Any jealousy over freedom of expression quickly gives way to a general disappointment in the Americans as workers. The chairman comes to visit, and a manager explains what the Americans are like as workers. “They’re pretty slow,” he explains. “They have fat fingers. We keep training them over and over.” Americans also like to take off weekends. \u003c/p>\n\u003cp>The chairman, Cho Tak Wong, is a forbidding presence, alternating between lofty language about character and serious complaints about unions. “The motherland is like a mother,” he says in one address to the Chinese staff. “This is eternal.” Noting that they aren’t there for the money but to represent their country, he tells them: “It’s down to every one of you here.” In the next scene, he’s on a plane, trying to figure out how to deal with labor. “I can’t manage them,” he complains. “When we try to manage them, they threaten to get help from the union.” \u003c/p>\n\u003cp>There is so much more to this movie. There’s a visit to headquarters in China, which starts with the executive staff singing the company anthem—”Noble sentiments are transparent / For the sake of transparency”—and it gets more unfamiliar from there. The directors take their loving time with process, too. This is a movie for activists but also for people who think it’s interesting to see how glass goes from hot sand to polished windows, and it spends a few moments on the challenges and pleasures of forklift driving. It’s not exactly an uplifting film, but it’s one of the most interesting ones to come along in a while. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It would be easy to know how to feel about it if it were just the thing it looks like it set out to be, the usual sympathetic story about the American blue-collar worker, with the expected problems and questions: Factories are shutting down, the unions are in retreat, the bosses stay powerful and rich. These are important stories, but they quickly fall into a kind of pattern of hard work and hopelessness. We mostly know how to feel. \u003c/p>\n\u003cp>It looks like it’s going to be the same at the glass plant in Dayton. But then a Chinese company, Fuyao Glass America, shows up to reopen it. Chinese companies buy American companies all the time. At this point, that shouldn’t be that interesting, either. \u003c/p>\n\u003cp>But Fuyao let the filmmakers film everything. \u003c/p>\n\u003cp>And so \u003cem>American Factory\u003c/em> is only nominally a film about America. The part that is astonishing about \u003cem>American Factory\u003c/em> is seeing everything about the United States through the eyes of Chinese factory workers and managers arriving to reopen and restaff a plant in the rust belt. \u003cem>American Factory\u003c/em> is the view we never get. Americans know how they feel about competing with China. But we don’t know how China feels about working with America. \u003c/p>\n\u003cp>Just minutes in, two workers from China, a couple, stand on a ledge overlooking Dayton. They marvel at the houses, which seem like antique wonders to them. They think it’s beautiful. And on second watching, I took a moment to look at the view, too, and, yeah, Dayton may be an opportunity zone, but it’s underrated. \u003c/p>\n\u003cp>We eavesdrop as a manager tries to explain America to a cafeteria filled with Chinese workers at long white tables, eating food out of foam boxes and wearing neon yellow vests. He wants to help them acclimate. “America is a place to let your personality run free,” he says. “As long as you’re not doing anything illegal, you’re free to follow your heart. You can even joke about the president. Nobody will do anything to you.” He also notes that Americans are “very obvious” and that “everything is practical and realistic.” \u003c/p>\n\u003cp>Any jealousy over freedom of expression quickly gives way to a general disappointment in the Americans as workers. The chairman comes to visit, and a manager explains what the Americans are like as workers. “They’re pretty slow,” he explains. “They have fat fingers. We keep training them over and over.” Americans also like to take off weekends. \u003c/p>\n\u003cp>The chairman, Cho Tak Wong, is a forbidding presence, alternating between lofty language about character and serious complaints about unions. “The motherland is like a mother,” he says in one address to the Chinese staff. “This is eternal.” Noting that they aren’t there for the money but to represent their country, he tells them: “It’s down to every one of you here.” In the next scene, he’s on a plane, trying to figure out how to deal with labor. “I can’t manage them,” he complains. “When we try to manage them, they threaten to get help from the union.” \u003c/p>\n\u003cp>There is so much more to this movie. There’s a visit to headquarters in China, which starts with the executive staff singing the company anthem—”Noble sentiments are transparent / For the sake of transparency”—and it gets more unfamiliar from there. The directors take their loving time with process, too. This is a movie for activists but also for people who think it’s interesting to see how glass goes from hot sand to polished windows, and it spends a few moments on the challenges and pleasures of forklift driving. It’s not exactly an uplifting film, but it’s one of the most interesting ones to come along in a while. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Pendarvis Harshaw\u003c/strong>\u003c/p>\n\u003cp>The 17th annual Oakland International Film Festival is happening Sept. 19–Sept. 29, with 25 rare, independent films screening at various venues around town, including Regal Jack London, the Grand Lake Theater, Holy Names University, the Oakland Asian Cultural Center and an outdoor venue that’s yet to be announced.\u003c/p>\n\u003cp>There’s a wide array of films. I’ve watched a few of them, and from what I’ve seen, let me tell you: bring a tissue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt7075240/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lalo’s House\u003c/em>\u003c/a> by Kelley Kali was one of the festival’s heavier films. Although hard to watch because of the subject matter—people posing as missionaries while sex-trafficking children in Haiti—it was nonetheless a good movie. It was so well shot, and the plot was short but gave enough to the audience to draw them in. That, coupled with engaging acting, provoked my frustration as I wrapped my mind around the injustices playing out on screen. And I finished the film, one that, given the subject matter, I’d usually turn away from.\u003c/p>\n\u003cp>Another heavy topic, the oppression of African Americans, was a central theme in Froi Cuesta’s film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G7ayZyGMc8Q\" target=\"_blank\" rel=\"noopener\">Unalienable Rights\u003c/a>, \u003c/em>an animated tale that looks back at the confrontation between the MOVE Organization and the Philadelphia Police Department in 1978. That event served as a precursor to another incident in 1985, in which authorities dropped a bomb on a house where members of MOVE were barricaded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leon Lozano’s film, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt10028182/\" target=\"_blank\" rel=\"noopener\">My Father Belize\u003c/a>, \u003c/em>was too much for me. Not because of the heavy subject matter, but because it was a heavy-handed approach to telling a story about ending the cycle of fathers stepping out on their kids. The overall message was cool, but the delivery wasn’t believable. Too many plot twists in too short a time.\u003c/p>\n\u003cfigure id=\"attachment_13865970\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865970 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/0-2-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film ‘Decade of Fire’ (directed by Gretchen Hildebran and Vivian Vazquez), which screens at the Oakland International Film Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"css-901oao css-16my406 css-bfa6kz r-jwli3a r-1qd0xha r-1vr29t4 r-ad9z0x r-bcqeeo r-3s2u2q r-qvutc0\">\u003cspan class=\"css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0\">Lucas Guilkey’s\u003c/span>\u003c/span> documentary \u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\">\u003cem>What\u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\"> Happened to Dujuan Armstrong?\u003c/a> \u003c/i>hit me the hardest. I’ve been following Armstrong’s story for some time: he was a young man from Oakland who was found dead in Santa Rita jail in June of last year. I even did \u003ca href=\"https://www.kqed.org/arts/13860615/rightnowish-urban-peace-movements-effort-to-combat-injustices-in-alameda-county\" target=\"_blank\" rel=\"noopener\">a radio piece\u003c/a> a few months ago focused on a group of young people working to bring attention to his case.\u003c/p>\n\u003cp>I knew a bit about how Armstrong had arrived at Santa Rita: he was looking to serve a weekend and ended up dead before Sunday. I knew the coroner ruled that\u003ca href=\"https://www.eastbayexpress.com/oakland/santa-rita-inmate-suffocated-from-restraints-used-by-deputies/Content?oid=26891586\" target=\"_blank\" rel=\"noopener\"> asphyxiation was the cause of death\u003c/a>.\u003c/p>\n\u003cp>I also knew that Armstrong was just one of the \u003ca href=\"https://www.eastbayexpress.com/oakland/the-most-dangerous-place-in-alameda-county/Content?oid=26245173\" target=\"_blank\" rel=\"noopener\">35-plus inmates\u003c/a> who’ve died in custody at an Alameda County jail in the past five years.\u003c/p>\n\u003cp>But there’s a lot I didn’t know, like the fact \u003ca href=\"https://www.alamedacountysheriff.org/dc_srj.php\" target=\"_blank\" rel=\"noopener\">Santa Rita is the 5th largest jail\u003c/a> in the country. What?\u003c/p>\n\u003cp>And I didn’t know Dujuan Armstrong’s mother, Barbara Doss, is still looking for answers about what transpired on the weekend that her son died.\u003c/p>\n\u003cp>Again, if you’re going to this film festival, be ready to be moved, be ready to learn and be ready to use a tissue or two. It gets heavy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Pendarvis Harshaw\u003c/strong>\u003c/p>\n\u003cp>The 17th annual Oakland International Film Festival is happening Sept. 19–Sept. 29, with 25 rare, independent films screening at various venues around town, including Regal Jack London, the Grand Lake Theater, Holy Names University, the Oakland Asian Cultural Center and an outdoor venue that’s yet to be announced.\u003c/p>\n\u003cp>There’s a wide array of films. I’ve watched a few of them, and from what I’ve seen, let me tell you: bring a tissue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt7075240/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lalo’s House\u003c/em>\u003c/a> by Kelley Kali was one of the festival’s heavier films. Although hard to watch because of the subject matter—people posing as missionaries while sex-trafficking children in Haiti—it was nonetheless a good movie. It was so well shot, and the plot was short but gave enough to the audience to draw them in. That, coupled with engaging acting, provoked my frustration as I wrapped my mind around the injustices playing out on screen. And I finished the film, one that, given the subject matter, I’d usually turn away from.\u003c/p>\n\u003cp>Another heavy topic, the oppression of African Americans, was a central theme in Froi Cuesta’s film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G7ayZyGMc8Q\" target=\"_blank\" rel=\"noopener\">Unalienable Rights\u003c/a>, \u003c/em>an animated tale that looks back at the confrontation between the MOVE Organization and the Philadelphia Police Department in 1978. That event served as a precursor to another incident in 1985, in which authorities dropped a bomb on a house where members of MOVE were barricaded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leon Lozano’s film, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt10028182/\" target=\"_blank\" rel=\"noopener\">My Father Belize\u003c/a>, \u003c/em>was too much for me. Not because of the heavy subject matter, but because it was a heavy-handed approach to telling a story about ending the cycle of fathers stepping out on their kids. The overall message was cool, but the delivery wasn’t believable. Too many plot twists in too short a time.\u003c/p>\n\u003cfigure id=\"attachment_13865970\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865970 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/0-2-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film ‘Decade of Fire’ (directed by Gretchen Hildebran and Vivian Vazquez), which screens at the Oakland International Film Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"css-901oao css-16my406 css-bfa6kz r-jwli3a r-1qd0xha r-1vr29t4 r-ad9z0x r-bcqeeo r-3s2u2q r-qvutc0\">\u003cspan class=\"css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0\">Lucas Guilkey’s\u003c/span>\u003c/span> documentary \u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\">\u003cem>What\u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\"> Happened to Dujuan Armstrong?\u003c/a> \u003c/i>hit me the hardest. I’ve been following Armstrong’s story for some time: he was a young man from Oakland who was found dead in Santa Rita jail in June of last year. I even did \u003ca href=\"https://www.kqed.org/arts/13860615/rightnowish-urban-peace-movements-effort-to-combat-injustices-in-alameda-county\" target=\"_blank\" rel=\"noopener\">a radio piece\u003c/a> a few months ago focused on a group of young people working to bring attention to his case.\u003c/p>\n\u003cp>I knew a bit about how Armstrong had arrived at Santa Rita: he was looking to serve a weekend and ended up dead before Sunday. I knew the coroner ruled that\u003ca href=\"https://www.eastbayexpress.com/oakland/santa-rita-inmate-suffocated-from-restraints-used-by-deputies/Content?oid=26891586\" target=\"_blank\" rel=\"noopener\"> asphyxiation was the cause of death\u003c/a>.\u003c/p>\n\u003cp>I also knew that Armstrong was just one of the \u003ca href=\"https://www.eastbayexpress.com/oakland/the-most-dangerous-place-in-alameda-county/Content?oid=26245173\" target=\"_blank\" rel=\"noopener\">35-plus inmates\u003c/a> who’ve died in custody at an Alameda County jail in the past five years.\u003c/p>\n\u003cp>But there’s a lot I didn’t know, like the fact \u003ca href=\"https://www.alamedacountysheriff.org/dc_srj.php\" target=\"_blank\" rel=\"noopener\">Santa Rita is the 5th largest jail\u003c/a> in the country. What?\u003c/p>\n\u003cp>And I didn’t know Dujuan Armstrong’s mother, Barbara Doss, is still looking for answers about what transpired on the weekend that her son died.\u003c/p>\n\u003cp>Again, if you’re going to this film festival, be ready to be moved, be ready to learn and be ready to use a tissue or two. It gets heavy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=296&v=Kk9NkwFmDN4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\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/Kk9NkwFmDN4'\n title='//www.youtube.com/embed/Kk9NkwFmDN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Outdoor ‘Music’ Launches BAMPFA’s Berkeley Film Foundation Salute",
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"content": "\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. If they escaped your notice on original release, mark your calendar for \u003cem>Dogtown Redemption\u003c/em> (Sept. 22), \u003cem>Inequality for All\u003c/em> (a free outdoor show on Oct. 10), \u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em> (Oct. 13), \u003cem>The Whistleblower of My Lai\u003c/em> (Oct. 22) and \u003cem>The Pushouts\u003c/em> (Oct. 27).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>This Ain’t No Mouse Music!\u003c/em> (screening outdoors for free this Thursday, Sept. 12), isn’t what you’d call a political film, exactly. Maureen Gosling and Chris Simon’s exhilarating 2013 profile of self-effacing musicologist and Arhoolie Records founder Chris Strachwitz describes a man whose life work has also been a public service. Strachwitz embodies liberal values—pro-diversity, pro-immigration, pro-tolerance—but it’s hard to imagine anyone finding his example objectionable. To the contrary, \u003cem>This Ain’t No Mouse Music!\u003c/em> is a testament to following your bliss—and to the filmmakers with the determination and creativity to show us how it’s done.\u003c/p>\n\n",
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"title": "Now Playing! Outdoor ‘Music’ Launches BAMPFA’s Berkeley Film Foundation Salute | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. If they escaped your notice on original release, mark your calendar for \u003cem>Dogtown Redemption\u003c/em> (Sept. 22), \u003cem>Inequality for All\u003c/em> (a free outdoor show on Oct. 10), \u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em> (Oct. 13), \u003cem>The Whistleblower of My Lai\u003c/em> (Oct. 22) and \u003cem>The Pushouts\u003c/em> (Oct. 27).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>This Ain’t No Mouse Music!\u003c/em> (screening outdoors for free this Thursday, Sept. 12), isn’t what you’d call a political film, exactly. Maureen Gosling and Chris Simon’s exhilarating 2013 profile of self-effacing musicologist and Arhoolie Records founder Chris Strachwitz describes a man whose life work has also been a public service. Strachwitz embodies liberal values—pro-diversity, pro-immigration, pro-tolerance—but it’s hard to imagine anyone finding his example objectionable. To the contrary, \u003cem>This Ain’t No Mouse Music!\u003c/em> is a testament to following your bliss—and to the filmmakers with the determination and creativity to show us how it’s done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash",
"headTitle": "How Emily Doe’s Book ‘Know My Name’ Could Help Reverse the #MeToo Backlash | KQED",
"content": "\u003cp>Last week, the woman sexually assaulted by former “Stanford swimmer” \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>, whose 2016 victim impact statement shook the nation, revealed her identity and announced the imminent release of her memoir. Her name is Chanel Miller, and the timing of her book, aptly titled \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Know My Name\u003c/i>\u003c/a>, could not be better, coming in the middle of an intensifying backlash against the #MeToo movement.\u003c/p>\n\u003cp>The tide has been turning for months. Just last week, Scarlett Johansson asserted in \u003ca href=\"https://www.hollywoodreporter.com/features/scarlett-johansson-talks-woody-allen-elizabeth-warren-black-widow-1235618\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> that she “loves” and “believes” accused \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">child-molester Woody Allen\u003c/a> and would “work with him anytime.”\u003c/p>\n\u003cp>Billy Bush is about to return to television as host of \u003cem>Extra\u003c/em>, after being fired from NBC’s \u003cem>Today\u003c/em> for giggling his way through a backstage recording of Donald Trump bragging about sexual assault. “I got taken out,” \u003ca href=\"https://www.hollywoodreporter.com/news/billy-bush-says-trump-access-hollywood-video-was-weaponized-1238226?utm_source=twitter&utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">he just told Gayle King\u003c/a> on \u003cem>CBS This Morning\u003c/em>, “but I wasn’t the target.”\u003c/p>\n\u003cp>Last month, Netflix premiered \u003ca href=\"https://www.netflix.com/title/81140577\" target=\"_blank\" rel=\"noopener noreferrer\">a special\u003c/a> by self-identified “victim blamer” Dave Chapelle, in which he declared “I got a f-cking Me Too headache” and defended Louis C.K. He also attempted to draw a direct correlation between women speaking up and the attack on reproductive rights currently unfolding nationally. “What the f-ck is your agenda, ladies?” he asked. “Is sexism dead? No, in fact, the opposite happened.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vI19NamI_OE\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> ran a sympathetic profile of disgraced senator Al Franken, with Jane Mayer writing that Franken “told me that his therapist had likened his experience to ‘what happens when primates are shunned and humiliated by the rest of the other primates.’”\u003c/p>\n\u003cp>That same month, Uma Thurman’s revelations about shocking \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\" target=\"_blank\" rel=\"noopener noreferrer\">working conditions under director Quentin Tarantino\u003c/a> were effectively wiped from the public consciousness with the release of his latest movie, \u003cem>Once Upon a Time in Hollywood\u003c/em>—a film currently rated 85-percent fresh on Rotten Tomatoes.\u003c/p>\n\u003cp>[pullquote size='large' align='right']‘This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence.’[/pullquote]\u003c/p>\n\u003cp>Inevitable for a story featuring a fictionalized Sharon Tate, the press tour for Tarantino’s movie also put Roman Polanski back in the spotlight. Not for being \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">a fugitive\u003c/a>, or a statutory rapist; rather because Tarantino is a “\u003ca href=\"https://www.indiewire.com/2019/05/once-upon-a-time-in-hollywood-quentin-tarantino-roman-polanski-1202143803/\" target=\"_blank\" rel=\"noopener noreferrer\">fan of Roman Polanski\u003c/a>’s work, but particularly \u003cem>Rosemary’s Baby\u003c/em>.” Then, despite his 2018 expulsion from the Motion Picture Academy, Polanski then got himself a \u003ca href=\"https://www.vanityfair.com/hollywood/2019/08/roman-polanski-venice-jaccuse-standing-ovation\" target=\"_blank\" rel=\"noopener noreferrer\">standing ovation\u003c/a> and the Grand Jury Prize at the Venice Film Festival for his latest film, \u003cem>J’Accuse\u003c/em>.\u003c/p>\n\u003cp>To make matters worse, several research papers have emerged suggesting women will be punished for speaking up about sexual harassment and assault. In May, the \u003ca href=\"https://leanin.org/sexual-harassment-backlash-survey-results\" target=\"_blank\" rel=\"noopener noreferrer\">Lean In Institute reported\u003c/a> “60 percent of managers who are men are uncomfortable participating in a common work activity with a woman, such as mentoring, working alone, or socializing together. That’s a 32 percent jump from a year ago.”\u003c/p>\n\u003cp>Then a \u003cem>Harvard Business Review\u003c/em> story titled “\u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">The #MeToo Backlash\u003c/a>,” described how both male and female professionals from “a wide range of industries” have changed their behavior towards women in the workplace in a negative way, post-#MeToo. The report primarily focused on the fact that 41 percent of men and 57 percent of women agreed that “men in general will be more reluctant to have one-on-one meetings with women.”\u003c/p>\n\u003cp>This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence. It’s a collective suggestion that #MeToo had its moment, but the movement’s gone too far now. It’s an indirect request for women to go back to their corners and leave all of these poor, frightened men alone.\u003c/p>\n\u003cfigure id=\"attachment_13865782\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png\" alt=\"Chanel Miller, appearing on '60 Minutes.'\" width=\"243\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png 243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM-160x227.png 160w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">Chanel Miller, appearing on ’60 Minutes.’ \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chanel Miller—known only as Emily Doe until now—had the distinction of being one of the first to speak out loudly enough to be heard internationally. Her case predated #MeToo, but her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">searing victim impact statement\u003c/a>, first published by Buzzfeed, arguably provided the first spark for the incendiary movement that would explode a year later.\u003c/p>\n\u003cp>Because so much has happened between her case and now, it’s easy to forget that it was she alone who ultimately inspired the campaigns that successfully \u003ca href=\"https://harvardlawreview.org/2019/02/california-judge-recalled-for-sentence-in-sexual-assault-case/\" target=\"_blank\" rel=\"noopener noreferrer\">unseated Judge Aaron Persky\u003c/a> (the man responsible for giving Turner a sentence that allowed him to get out of county jail after only three months), \u003cem>and\u003c/em> got a bill signed into California law that imposes \u003ca href=\"https://www.theguardian.com/us-news/2016/sep/30/stanford-sexual-assault-case-california-rape-law\" target=\"_blank\" rel=\"noopener noreferrer\">mandatory minimum sentences\u003c/a> for sexual assault cases. It was the first case this century to so prominently highlight the issues of white male privilege and a legal system that is prone to disregarding the suffering of sexual assault survivors.\u003c/p>\n\u003cp>Miller reportedly began writing \u003cem>Know My Name\u003c/em> in 2017, using the book to piece together exactly what had happened to her, and heal from it. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/books/chanel-miller-brock-turner-assault-stanford.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the focus of Miller’s writing expanded “as conversations about sexual violence moved increasingly to the fore” of the national consciousness.\u003c/p>\n\u003cp>What has been obvious in the last few months is that a sizable swath of America has lost sight of the deeply personal, private and systemic nature of sexual assault and harassment that started #MeToo in the first place. Over time—and thanks to the sheer number of famous men brought down by the movement—the focus has shifted disproportionately to the most prominent celebrity cases.\u003c/p>\n\u003cp>Now that men like Bill Cosby, Jeffrey Epstein and Harvey Weinstein (whose \u003ca href=\"https://www.usatoday.com/story/life/2019/04/26/harvey-weinstein-sex-crimes-case-public-media-court-high-stakes/3542755002/\" target=\"_blank\" rel=\"noopener noreferrer\">trial starts this week\u003c/a>) have contended with the legal consequences of their actions, there has been an increasing sense that the biggest monsters have been brought down and the hardest work has already been done. Miller’s return is well-timed to drag the spotlight off the most grotesque men brought down by #MeToo and back onto ordinary, everyday survivors. It gives the nation a much-needed reminder that this was never really only about bad behavior within celebrity circles.\u003c/p>\n\u003cfigure id=\"attachment_13865848\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9780735223707.jpg\" alt=\"'Know My Name' by Chanel Miller. \" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Know My Name’ by Chanel Miller. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Miller’s book is also bound to do—and what Hulu’s excellent new Harvey Weinstein documentary, \u003ca href=\"https://www.hulu.com/movie/untouchable-0204d474-dcce-44f3-af25-d1cca05aba3b\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Untouchable\u003c/em>\u003c/a>, just did—is to explain once more that the lasting trauma sexual assault survivors endure goes on long after trials end, the media attention dissipates and the conversations move elsewhere. It will reemphasize the importance of pushing women’s voices to the forefront and the good things that happen when we make space for that. It will also be an essential reminder of the injustices that women have historically faced, and continue to face.\u003c/p>\n\u003cp>One of the things that has been consistently buried in the reports about the negative workplace consequences of #MeToo is the undoubtedly \u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">positive news\u003c/a> that: “74 percent of women said they thought they would be more willing now to speak out against harassment, and 77 percent of men anticipated being more careful about potentially inappropriate behavior.” That is exactly the kind of progress that we must not lose sight of if #MeToo is to continue to thrive.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.refinery29.com/en-us/2018/05/197938/ashley-judd-healing-sexual-assault-times-up\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Judd made plain\u003c/a> at a #TimesUp event last year: “We use our voices, we weather retaliation—and we act up anyway.” Chanel Miller is a perfect example of how to do all of the above, and it is an honor to finally meet her.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Know My Name’ by Chanel Miller is out Sept. 24, 2019 from Viking. \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the woman sexually assaulted by former “Stanford swimmer” \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>, whose 2016 victim impact statement shook the nation, revealed her identity and announced the imminent release of her memoir. Her name is Chanel Miller, and the timing of her book, aptly titled \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Know My Name\u003c/i>\u003c/a>, could not be better, coming in the middle of an intensifying backlash against the #MeToo movement.\u003c/p>\n\u003cp>The tide has been turning for months. Just last week, Scarlett Johansson asserted in \u003ca href=\"https://www.hollywoodreporter.com/features/scarlett-johansson-talks-woody-allen-elizabeth-warren-black-widow-1235618\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> that she “loves” and “believes” accused \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">child-molester Woody Allen\u003c/a> and would “work with him anytime.”\u003c/p>\n\u003cp>Billy Bush is about to return to television as host of \u003cem>Extra\u003c/em>, after being fired from NBC’s \u003cem>Today\u003c/em> for giggling his way through a backstage recording of Donald Trump bragging about sexual assault. “I got taken out,” \u003ca href=\"https://www.hollywoodreporter.com/news/billy-bush-says-trump-access-hollywood-video-was-weaponized-1238226?utm_source=twitter&utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">he just told Gayle King\u003c/a> on \u003cem>CBS This Morning\u003c/em>, “but I wasn’t the target.”\u003c/p>\n\u003cp>Last month, Netflix premiered \u003ca href=\"https://www.netflix.com/title/81140577\" target=\"_blank\" rel=\"noopener noreferrer\">a special\u003c/a> by self-identified “victim blamer” Dave Chapelle, in which he declared “I got a f-cking Me Too headache” and defended Louis C.K. He also attempted to draw a direct correlation between women speaking up and the attack on reproductive rights currently unfolding nationally. “What the f-ck is your agenda, ladies?” he asked. “Is sexism dead? No, in fact, the opposite happened.”\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/vI19NamI_OE'\n title='//www.youtube.com/embed/vI19NamI_OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In July, \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> ran a sympathetic profile of disgraced senator Al Franken, with Jane Mayer writing that Franken “told me that his therapist had likened his experience to ‘what happens when primates are shunned and humiliated by the rest of the other primates.’”\u003c/p>\n\u003cp>That same month, Uma Thurman’s revelations about shocking \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\" target=\"_blank\" rel=\"noopener noreferrer\">working conditions under director Quentin Tarantino\u003c/a> were effectively wiped from the public consciousness with the release of his latest movie, \u003cem>Once Upon a Time in Hollywood\u003c/em>—a film currently rated 85-percent fresh on Rotten Tomatoes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inevitable for a story featuring a fictionalized Sharon Tate, the press tour for Tarantino’s movie also put Roman Polanski back in the spotlight. Not for being \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">a fugitive\u003c/a>, or a statutory rapist; rather because Tarantino is a “\u003ca href=\"https://www.indiewire.com/2019/05/once-upon-a-time-in-hollywood-quentin-tarantino-roman-polanski-1202143803/\" target=\"_blank\" rel=\"noopener noreferrer\">fan of Roman Polanski\u003c/a>’s work, but particularly \u003cem>Rosemary’s Baby\u003c/em>.” Then, despite his 2018 expulsion from the Motion Picture Academy, Polanski then got himself a \u003ca href=\"https://www.vanityfair.com/hollywood/2019/08/roman-polanski-venice-jaccuse-standing-ovation\" target=\"_blank\" rel=\"noopener noreferrer\">standing ovation\u003c/a> and the Grand Jury Prize at the Venice Film Festival for his latest film, \u003cem>J’Accuse\u003c/em>.\u003c/p>\n\u003cp>To make matters worse, several research papers have emerged suggesting women will be punished for speaking up about sexual harassment and assault. In May, the \u003ca href=\"https://leanin.org/sexual-harassment-backlash-survey-results\" target=\"_blank\" rel=\"noopener noreferrer\">Lean In Institute reported\u003c/a> “60 percent of managers who are men are uncomfortable participating in a common work activity with a woman, such as mentoring, working alone, or socializing together. That’s a 32 percent jump from a year ago.”\u003c/p>\n\u003cp>Then a \u003cem>Harvard Business Review\u003c/em> story titled “\u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">The #MeToo Backlash\u003c/a>,” described how both male and female professionals from “a wide range of industries” have changed their behavior towards women in the workplace in a negative way, post-#MeToo. The report primarily focused on the fact that 41 percent of men and 57 percent of women agreed that “men in general will be more reluctant to have one-on-one meetings with women.”\u003c/p>\n\u003cp>This recent cacophony of voices coalesce into one message: an attempt to bully women back into good old-fashioned silence. It’s a collective suggestion that #MeToo had its moment, but the movement’s gone too far now. It’s an indirect request for women to go back to their corners and leave all of these poor, frightened men alone.\u003c/p>\n\u003cfigure id=\"attachment_13865782\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png\" alt=\"Chanel Miller, appearing on '60 Minutes.'\" width=\"243\" height=\"344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM.png 243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-2.31.13-PM-160x227.png 160w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">Chanel Miller, appearing on ’60 Minutes.’ \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chanel Miller—known only as Emily Doe until now—had the distinction of being one of the first to speak out loudly enough to be heard internationally. Her case predated #MeToo, but her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">searing victim impact statement\u003c/a>, first published by Buzzfeed, arguably provided the first spark for the incendiary movement that would explode a year later.\u003c/p>\n\u003cp>Because so much has happened between her case and now, it’s easy to forget that it was she alone who ultimately inspired the campaigns that successfully \u003ca href=\"https://harvardlawreview.org/2019/02/california-judge-recalled-for-sentence-in-sexual-assault-case/\" target=\"_blank\" rel=\"noopener noreferrer\">unseated Judge Aaron Persky\u003c/a> (the man responsible for giving Turner a sentence that allowed him to get out of county jail after only three months), \u003cem>and\u003c/em> got a bill signed into California law that imposes \u003ca href=\"https://www.theguardian.com/us-news/2016/sep/30/stanford-sexual-assault-case-california-rape-law\" target=\"_blank\" rel=\"noopener noreferrer\">mandatory minimum sentences\u003c/a> for sexual assault cases. It was the first case this century to so prominently highlight the issues of white male privilege and a legal system that is prone to disregarding the suffering of sexual assault survivors.\u003c/p>\n\u003cp>Miller reportedly began writing \u003cem>Know My Name\u003c/em> in 2017, using the book to piece together exactly what had happened to her, and heal from it. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/books/chanel-miller-brock-turner-assault-stanford.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the focus of Miller’s writing expanded “as conversations about sexual violence moved increasingly to the fore” of the national consciousness.\u003c/p>\n\u003cp>What has been obvious in the last few months is that a sizable swath of America has lost sight of the deeply personal, private and systemic nature of sexual assault and harassment that started #MeToo in the first place. Over time—and thanks to the sheer number of famous men brought down by the movement—the focus has shifted disproportionately to the most prominent celebrity cases.\u003c/p>\n\u003cp>Now that men like Bill Cosby, Jeffrey Epstein and Harvey Weinstein (whose \u003ca href=\"https://www.usatoday.com/story/life/2019/04/26/harvey-weinstein-sex-crimes-case-public-media-court-high-stakes/3542755002/\" target=\"_blank\" rel=\"noopener noreferrer\">trial starts this week\u003c/a>) have contended with the legal consequences of their actions, there has been an increasing sense that the biggest monsters have been brought down and the hardest work has already been done. Miller’s return is well-timed to drag the spotlight off the most grotesque men brought down by #MeToo and back onto ordinary, everyday survivors. It gives the nation a much-needed reminder that this was never really only about bad behavior within celebrity circles.\u003c/p>\n\u003cfigure id=\"attachment_13865848\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9780735223707.jpg\" alt=\"'Know My Name' by Chanel Miller. \" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9780735223707-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Know My Name’ by Chanel Miller. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Miller’s book is also bound to do—and what Hulu’s excellent new Harvey Weinstein documentary, \u003ca href=\"https://www.hulu.com/movie/untouchable-0204d474-dcce-44f3-af25-d1cca05aba3b\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Untouchable\u003c/em>\u003c/a>, just did—is to explain once more that the lasting trauma sexual assault survivors endure goes on long after trials end, the media attention dissipates and the conversations move elsewhere. It will reemphasize the importance of pushing women’s voices to the forefront and the good things that happen when we make space for that. It will also be an essential reminder of the injustices that women have historically faced, and continue to face.\u003c/p>\n\u003cp>One of the things that has been consistently buried in the reports about the negative workplace consequences of #MeToo is the undoubtedly \u003ca href=\"https://hbr.org/2019/09/the-metoo-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">positive news\u003c/a> that: “74 percent of women said they thought they would be more willing now to speak out against harassment, and 77 percent of men anticipated being more careful about potentially inappropriate behavior.” That is exactly the kind of progress that we must not lose sight of if #MeToo is to continue to thrive.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.refinery29.com/en-us/2018/05/197938/ashley-judd-healing-sexual-assault-times-up\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Judd made plain\u003c/a> at a #TimesUp event last year: “We use our voices, we weather retaliation—and we act up anyway.” Chanel Miller is a perfect example of how to do all of the above, and it is an honor to finally meet her.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Know My Name’ by Chanel Miller is out Sept. 24, 2019 from Viking. \u003ca href=\"https://www.penguinrandomhouse.com/books/553663/know-my-name-by-chanel-miller/9780735223707/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In Stalker Thriller 'The Fanatic,' Travolta Stalks, But Never Thrills",
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"content": "\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\u003c/p>\n\u003cp>https://youtu.be/YRS6V8RXIKE\u003c/p>\n\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\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/YRS6V8RXIKE'\n title='//www.youtube.com/embed/YRS6V8RXIKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Latinos make up 18% of the U.S. population and 24% of its frequent moviegoers, yet they rarely see themselves on movie screens.\u003c/p>\n\u003cp>A new study by the USC Annenberg Inclusion Initiative finds that Latino representation in film lags significantly behind the U.S. population and that, over the last decade, the number of Latino characters in the most popular movies is virtually unchanged.\u003c/p>\n\u003cp>The report, released Monday and conducted in partnership with the National Association of Latino Independent Producers (NALIP) and Wise Entertainment, analyzed the 1,200 top-grossing films from 2007 to 2018 and some 47,268 speaking or named characters. It found that in that 12-year period, 4.5% of all speaking or named characters were Latino, and just 3% of leads or co-leads.\u003c/p>\n\u003cp>Over that time, the rate of representation has hovered between 3-6%, researchers found. In, 2018, there were Latino speaking characters in 5% of the most popular films — the same rate as in 2008.\u003c/p>\n\u003cp>[aside tag='latinx,latino,bilingual' label='More Stories For You']\u003c/p>\n\u003cp>Inclusion Initiative founder and director Stacy L. Smith, who co-authored the study, said that in all areas of film, Latino are “vastly underrepresented.”\u003c/p>\n\u003cp>“At a time where Latinos in our country are facing intense concerns over their safety, we urgently need to see the Latino community authentically and accurately represented throughout entertainment,” Smith said in a statement.\u003c/p>\n\u003cp>Researchers found that in the films studied, 4% had a Latino director, and most of those filmmakers — 71% — were from outside the U.S. Out of the 1,335 directors, only one was a Latina. Among producers, just 3% were Latino.\u003c/p>\n\u003cp>The study also found that Latinos, when they are on screen, frequently appear in stereotyped roles. In the most popular films at the U.S. box office, Latinos are depicted as criminals 24% of the time; 17% were portrayed as poor or with a low income.\u003c/p>\n\u003cp>“The Latino community has not been prioritized, and it is imperative that we shed light on the glaring reality of Latino representation in film,” said Benjamin Lopez, executive director of NALIP.\u003c/p>\n\u003cp>The results of the study, while hardly surprising, are particularly striking considering what avid moviegoers Latinos generally are. The MPAA has said that 24% of frequent moviegoers — those who go to the movies at least once a month — are Latino. No other ethnic demographic is more overrepresented among moviegoers.\u003c/p>\n\u003cp>The disparity is even more glaring considering that the movie business is centered in Los Angeles, where Latinos make up 49% of the population.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "How One Brutal Children's Book From 1845 Left Permanent Marks on Pop Culture",
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"content": "\u003cp>It’s a collection of children’s stories so brutal, it almost outdoes the Brothers Grimm.\u003c/p>\n\u003cp>The tales of \u003cem>Der Struwwelpeter\u003c/em> by Heinrich Hoffman are short, sharp, shocking, and they’ve left a surprisingly deep mark on culture, even though most living Americans have never read them. Today, the astonishing content of \u003cem>Der Struwwelpeter\u003c/em> hasn’t only irreversibly impacted children’s literature—its influence can still be seen in movies, cartoons, TV shows, and a wealth of parodies.\u003c/p>\n\u003cfigure id=\"attachment_13863801\" class=\"wp-caption alignright\" style=\"max-width: 132px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863801\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/harriet.three_.thm_.jpg\" alt='\"The Dreadful Story of Harriet and the Matches.\"' width=\"132\" height=\"186\">\u003cfigcaption class=\"wp-caption-text\">‘The Dreadful Story of Harriet and the Matches.’\u003c/figcaption>\u003c/figure>\n\u003cp>To give you some idea of the savagery of the 10 stories in the 1845 collection, consider “The Dreadful Story of Harriet and the Matches,” about a little girl who accidentally sets herself on fire and burns to death while her pet cats watch. Then there’s “The Story of Little Suck-a-Thumb,” about a boy named Conrad who refuses to stop sucking his thumbs and subsequently watches them both severed by a creepy, long-legged home-invader.\u003c/p>\n\u003cp>In between are tales of comeuppance for characters committing surprisingly graphic animal cruelty (“Cruel Frederick”), racist harassment (“The Story of the Inky Boys” is definitely not woke by 2019 standards, but was considered progressive at the time), and the apparent dastardly sin of not watching where you’re going (“The Story of Johnny Head-in-Air”). In others, one little boy refuses to eat soup for a few days and subsequently starves to death, and another insists on going out for a walk in the rain and flies away in a storm, never to be seen again.\u003c/p>\n\u003cp>Despite the smörgåsbord of searing imagery in the book, the one that seems to stick most with people is that of “Shock-Headed Peter”—the \u003cem>Der Struwwelpeter\u003c/em> of the book’s title. Peter is a little boy publicly humiliated by his own slovenliness. He is depicted as crying and alone “with his nasty hair and hands.” Peter, especially out of context, is pretty damn scary.\u003c/p>\n\u003cfigure id=\"attachment_13863713\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg\" alt=\"Shock-Headed Peter, of 'Der Struwwelpeter'.\" width=\"450\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4-160x167.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shock-Headed Peter, of ‘Der Struwwelpeter’.\u003c/figcaption>\u003c/figure>\n\u003cp>My introduction to\u003cem> Der Struwwelpeter\u003c/em> occurred purely because of this image, which I recently encountered on the sixth floor of the San Francisco Public Library, hanging in the SF History room. The panel featuring Peter’s image was created for the library’s 100th anniversary last year, and still regularly causes a stir. One librarian informed me that a woman recently walked into the room, saw Peter, screamed, then shouted “Get that thing out of here!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a response that might have appalled Heinrich Hoffman. Not only did the German physician originally write the collection for his 3-year-old son, he did so because he wanted his child to have something more light-hearted and humorous than anything else that was available at the time. (Hoffman originally titled the book \u003cem>Funny Stories and Droll Pictures… For Children Ages 3–6\u003c/em>.)\u003c/p>\n\u003cp>In the book \u003ca href=\"https://www.amazon.com/Struwwelpeter-Humor-Horror-Years-Later/dp/0739116649\" target=\"_blank\" rel=\"noopener\">\u003cem>Struwwelpeter: Humor or Horror?\u003c/em>\u003c/a> Barbara Smith Chalou explains:\u003c/p>\n\u003cblockquote>\u003cp>“Prior to the 1866 publication of Lewis Carroll’s landmark ‘\u003cem>Alice in Wonderland’ \u003c/em>… most Western children’s books were limited to instruction manuals, Bible passages, moral fables or cautionary tales … In ‘\u003cem>Der Struwwelpeter\u003c/em>,’ we find an intriguing mix of traditional elements with … certain components that were dramatically different than anything previously seen in children’s books. For example, [Hoffman’s] … brightly colored pictures… Nothing resembling this had existed on the market prior to 1845, the date of publication.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Der Struwwelpeter, \u003c/em>then, was one of the world’s first picture books, which is why it quickly warranted \u003ca href=\"https://www.nypl.org/blog/2013/05/15/influence-struwwelpeter\">35 translations\u003c/a>—one of which was done \u003ca href=\"https://germanstories.vcu.edu/struwwel/twpete.html\" target=\"_blank\" rel=\"noopener\">by Mark Twain\u003c/a> in 1891—and helped to permanently transform how children’s entertainment was presented and enjoyed. What’s more, despite the inherent horror, its visuals have proved timeless. Without \u003cem>Der Struwwelpeter’\u003c/em>s “The Story of the Man That Went Out Shooting,” in which a hapless hunter has his gun turned on him by a wily hare, there is a good chance that Looney Toons might never have thought to give us a war between Elmer Fudd and Bugs Bunny.\u003c/p>\n\u003cp>It’s impossible not to see the parallels:\u003c/p>\n\u003cfigure id=\"attachment_13863825\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/014-1.jpg\" alt=\""The Story of the Man That Went Out Shooting" from 'Der Struwwelpeter.'\" width=\"400\" height=\"311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1-160x124.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“The Story of the Man That Went Out Shooting” from ‘Der Struwwelpeter.’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863826\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg\" alt=\"Elmer Fudd and Bugs Bunny in a battle of wits.\" width=\"374\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny-160x121.jpg 160w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003cfigcaption class=\"wp-caption-text\">Elmer Fudd and Bugs Bunny in a battle of wits. \u003ccite>(Looney Tunes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dark humor inherent in \u003cem>Der Struwwelpeter\u003c/em> is also credited with directly influencing the work of beloved children’s authors including Roald Dahl, Lemony Snicket and Maurice Sendak—who once called \u003cem>Der Struwwelpeter\u003c/em> “one of the most beautiful books in the world.” When illustrator Bob Staake\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\"> created his own version\u003c/a> in 2006, he said: “When I was given the book as a kid, I didn’t know if it was a joke or not, but my German parents weren’t laughing. The illustrations and stories just \u003ca href=\"https://bobstaake.com/struwwelpeter/artist.shtml\" target=\"_blank\" rel=\"noopener\">creeped me out\u003c/a> beyond words.”\u003c/p>\n\u003cp>Staake isn’t the only one—gothic artists Edward Gorey and Tim Burton are said to be heavily influenced too\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\">.\u003c/a> When The Tiger Lillies toured their \u003ca href=\"https://observer.com/1999/11/your-thumbs-during-shockheaded-peter/\" target=\"_blank\" rel=\"noopener\">“junk opera,” \u003cem>Shockheaded Peter,\u003c/em>\u003c/a> in the ’90s, it was the aesthetics of Tim Burton that critics most commonly referenced in order to paint a picture for readers. Is it any wonder when Burton’s Edward Scissorhands bears such a striking resemblance to Shock-Headed Peter?\u003c/p>\n\u003cfigure id=\"attachment_13863857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg\" alt=\"Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\u003c/figcaption>\u003c/figure>\n\u003cp>The macabre elements of the book have also been repeatedly referenced in both music—Rammstein’s \u003ca href=\"https://www.youtube.com/watch?v=-ButQO2fi4I\">“Hilf Mir”\u003c/a> is based on “Harriet and the Matches,” and the XTC track \u003ca href=\"https://www.youtube.com/watch?v=oqA28wFRvHA\">“Scissor Man”\u003c/a> is a direct reference to the thumb-severer—and in TV comedy, most notably with references to “The Story of Little Suck-a-Thumb” showing up \u003cem>Doctor Who\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=OeIi4ni1LvY\">\u003cem>The Office\u003c/em>\u003c/a> and, most hilariously, \u003cem>Family Guy\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=khOIOHcw4PI\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em>‘s historical influence runs even deeper. During World War II, the allies used the book to make fun of the Third Reich repeatedly, with one \u003ca href=\"http://parridigit.istitutoparri.eu/public/multimediale/1/Monografie/multimedia_source/STR/UW/STRUWWELHITLER.pdf\" target=\"_blank\" rel=\"noopener\">version by Robert and Peter Spence\u003c/a> transforming “Struwwelpeter” into “Struwwelhitler,” and “Cruel Frederick” into “Cruel Adolph.”\u003c/p>\n\u003cp>Another piece of historical satire came in 1975 with \u003ca href=\"https://www.amazon.com/Tricky-Dick-his-pals-Struwwelpeter/dp/0812904451\" target=\"_blank\" rel=\"noopener\">\u003cem>Tricky Dick and His Pals\u003c/em>\u003c/a>, designed to pointedly make a mockery of the Nixon administration. It opens with the lines “Look at this child, so clean and slick. He’s called Obnoxious Tricky Dick! He’d lie and cheat and hit and steal, and wouldn’t care how bad you’d feel,” and stories within the collection see Nixon getting bitten by a dog and shooting himself with his own gun.\u003c/p>\n\u003cfigure id=\"attachment_13863813\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863813 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg\" alt=\"L: Robert and Philip Spence's war-time parody. R: 1974's 'Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann's Der Struwwelpeter' by Joseph Wortis.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L: Robert and Philip Spence’s war-time parody. R: 1974’s ‘Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann’s Der Struwwelpeter’ by Joseph Wortis.\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em> is still incredibly easy to find today, whether that be in the form of the original book, updated \u003ca href=\"https://www.youtube.com/watch?v=p3QyMA-Pmk4\">animations\u003c/a> that tell the traditional stories, or in the influence it has left behind on other people’s creations. Whether or not it remains appropriate reading for modern-day children remains to be seen, but those that grew up with it are left with vivid memories. “My grandparents had a copy when I was a kid,” KQED’s Senior Social Media Strategist, Carly Severn, recently told me, smile quickly turning to a grimace. “It scared the everloving \u003cem>scheisse\u003c/em> out of me.”\u003c/p>\n\n",
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"excerpt": "Despite 1845's 'Der Struwwelpeter' being full of short, sharp shocks, there are still elements of it left behind in today's entertainment for children—and adults.",
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"title": "How One Brutal Children's Book From 1845 Left Permanent Marks on Pop Culture | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a collection of children’s stories so brutal, it almost outdoes the Brothers Grimm.\u003c/p>\n\u003cp>The tales of \u003cem>Der Struwwelpeter\u003c/em> by Heinrich Hoffman are short, sharp, shocking, and they’ve left a surprisingly deep mark on culture, even though most living Americans have never read them. Today, the astonishing content of \u003cem>Der Struwwelpeter\u003c/em> hasn’t only irreversibly impacted children’s literature—its influence can still be seen in movies, cartoons, TV shows, and a wealth of parodies.\u003c/p>\n\u003cfigure id=\"attachment_13863801\" class=\"wp-caption alignright\" style=\"max-width: 132px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863801\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/harriet.three_.thm_.jpg\" alt='\"The Dreadful Story of Harriet and the Matches.\"' width=\"132\" height=\"186\">\u003cfigcaption class=\"wp-caption-text\">‘The Dreadful Story of Harriet and the Matches.’\u003c/figcaption>\u003c/figure>\n\u003cp>To give you some idea of the savagery of the 10 stories in the 1845 collection, consider “The Dreadful Story of Harriet and the Matches,” about a little girl who accidentally sets herself on fire and burns to death while her pet cats watch. Then there’s “The Story of Little Suck-a-Thumb,” about a boy named Conrad who refuses to stop sucking his thumbs and subsequently watches them both severed by a creepy, long-legged home-invader.\u003c/p>\n\u003cp>In between are tales of comeuppance for characters committing surprisingly graphic animal cruelty (“Cruel Frederick”), racist harassment (“The Story of the Inky Boys” is definitely not woke by 2019 standards, but was considered progressive at the time), and the apparent dastardly sin of not watching where you’re going (“The Story of Johnny Head-in-Air”). In others, one little boy refuses to eat soup for a few days and subsequently starves to death, and another insists on going out for a walk in the rain and flies away in a storm, never to be seen again.\u003c/p>\n\u003cp>Despite the smörgåsbord of searing imagery in the book, the one that seems to stick most with people is that of “Shock-Headed Peter”—the \u003cem>Der Struwwelpeter\u003c/em> of the book’s title. Peter is a little boy publicly humiliated by his own slovenliness. He is depicted as crying and alone “with his nasty hair and hands.” Peter, especially out of context, is pretty damn scary.\u003c/p>\n\u003cfigure id=\"attachment_13863713\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg\" alt=\"Shock-Headed Peter, of 'Der Struwwelpeter'.\" width=\"450\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4-160x167.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shock-Headed Peter, of ‘Der Struwwelpeter’.\u003c/figcaption>\u003c/figure>\n\u003cp>My introduction to\u003cem> Der Struwwelpeter\u003c/em> occurred purely because of this image, which I recently encountered on the sixth floor of the San Francisco Public Library, hanging in the SF History room. The panel featuring Peter’s image was created for the library’s 100th anniversary last year, and still regularly causes a stir. One librarian informed me that a woman recently walked into the room, saw Peter, screamed, then shouted “Get that thing out of here!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a response that might have appalled Heinrich Hoffman. Not only did the German physician originally write the collection for his 3-year-old son, he did so because he wanted his child to have something more light-hearted and humorous than anything else that was available at the time. (Hoffman originally titled the book \u003cem>Funny Stories and Droll Pictures… For Children Ages 3–6\u003c/em>.)\u003c/p>\n\u003cp>In the book \u003ca href=\"https://www.amazon.com/Struwwelpeter-Humor-Horror-Years-Later/dp/0739116649\" target=\"_blank\" rel=\"noopener\">\u003cem>Struwwelpeter: Humor or Horror?\u003c/em>\u003c/a> Barbara Smith Chalou explains:\u003c/p>\n\u003cblockquote>\u003cp>“Prior to the 1866 publication of Lewis Carroll’s landmark ‘\u003cem>Alice in Wonderland’ \u003c/em>… most Western children’s books were limited to instruction manuals, Bible passages, moral fables or cautionary tales … In ‘\u003cem>Der Struwwelpeter\u003c/em>,’ we find an intriguing mix of traditional elements with … certain components that were dramatically different than anything previously seen in children’s books. For example, [Hoffman’s] … brightly colored pictures… Nothing resembling this had existed on the market prior to 1845, the date of publication.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Der Struwwelpeter, \u003c/em>then, was one of the world’s first picture books, which is why it quickly warranted \u003ca href=\"https://www.nypl.org/blog/2013/05/15/influence-struwwelpeter\">35 translations\u003c/a>—one of which was done \u003ca href=\"https://germanstories.vcu.edu/struwwel/twpete.html\" target=\"_blank\" rel=\"noopener\">by Mark Twain\u003c/a> in 1891—and helped to permanently transform how children’s entertainment was presented and enjoyed. What’s more, despite the inherent horror, its visuals have proved timeless. Without \u003cem>Der Struwwelpeter’\u003c/em>s “The Story of the Man That Went Out Shooting,” in which a hapless hunter has his gun turned on him by a wily hare, there is a good chance that Looney Toons might never have thought to give us a war between Elmer Fudd and Bugs Bunny.\u003c/p>\n\u003cp>It’s impossible not to see the parallels:\u003c/p>\n\u003cfigure id=\"attachment_13863825\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/014-1.jpg\" alt=\""The Story of the Man That Went Out Shooting" from 'Der Struwwelpeter.'\" width=\"400\" height=\"311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1-160x124.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“The Story of the Man That Went Out Shooting” from ‘Der Struwwelpeter.’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863826\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg\" alt=\"Elmer Fudd and Bugs Bunny in a battle of wits.\" width=\"374\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny-160x121.jpg 160w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003cfigcaption class=\"wp-caption-text\">Elmer Fudd and Bugs Bunny in a battle of wits. \u003ccite>(Looney Tunes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dark humor inherent in \u003cem>Der Struwwelpeter\u003c/em> is also credited with directly influencing the work of beloved children’s authors including Roald Dahl, Lemony Snicket and Maurice Sendak—who once called \u003cem>Der Struwwelpeter\u003c/em> “one of the most beautiful books in the world.” When illustrator Bob Staake\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\"> created his own version\u003c/a> in 2006, he said: “When I was given the book as a kid, I didn’t know if it was a joke or not, but my German parents weren’t laughing. The illustrations and stories just \u003ca href=\"https://bobstaake.com/struwwelpeter/artist.shtml\" target=\"_blank\" rel=\"noopener\">creeped me out\u003c/a> beyond words.”\u003c/p>\n\u003cp>Staake isn’t the only one—gothic artists Edward Gorey and Tim Burton are said to be heavily influenced too\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\">.\u003c/a> When The Tiger Lillies toured their \u003ca href=\"https://observer.com/1999/11/your-thumbs-during-shockheaded-peter/\" target=\"_blank\" rel=\"noopener\">“junk opera,” \u003cem>Shockheaded Peter,\u003c/em>\u003c/a> in the ’90s, it was the aesthetics of Tim Burton that critics most commonly referenced in order to paint a picture for readers. Is it any wonder when Burton’s Edward Scissorhands bears such a striking resemblance to Shock-Headed Peter?\u003c/p>\n\u003cfigure id=\"attachment_13863857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg\" alt=\"Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\u003c/figcaption>\u003c/figure>\n\u003cp>The macabre elements of the book have also been repeatedly referenced in both music—Rammstein’s \u003ca href=\"https://www.youtube.com/watch?v=-ButQO2fi4I\">“Hilf Mir”\u003c/a> is based on “Harriet and the Matches,” and the XTC track \u003ca href=\"https://www.youtube.com/watch?v=oqA28wFRvHA\">“Scissor Man”\u003c/a> is a direct reference to the thumb-severer—and in TV comedy, most notably with references to “The Story of Little Suck-a-Thumb” showing up \u003cem>Doctor Who\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=OeIi4ni1LvY\">\u003cem>The Office\u003c/em>\u003c/a> and, most hilariously, \u003cem>Family Guy\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/khOIOHcw4PI'\n title='//www.youtube.com/embed/khOIOHcw4PI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Der Struwwelpeter\u003c/em>‘s historical influence runs even deeper. During World War II, the allies used the book to make fun of the Third Reich repeatedly, with one \u003ca href=\"http://parridigit.istitutoparri.eu/public/multimediale/1/Monografie/multimedia_source/STR/UW/STRUWWELHITLER.pdf\" target=\"_blank\" rel=\"noopener\">version by Robert and Peter Spence\u003c/a> transforming “Struwwelpeter” into “Struwwelhitler,” and “Cruel Frederick” into “Cruel Adolph.”\u003c/p>\n\u003cp>Another piece of historical satire came in 1975 with \u003ca href=\"https://www.amazon.com/Tricky-Dick-his-pals-Struwwelpeter/dp/0812904451\" target=\"_blank\" rel=\"noopener\">\u003cem>Tricky Dick and His Pals\u003c/em>\u003c/a>, designed to pointedly make a mockery of the Nixon administration. It opens with the lines “Look at this child, so clean and slick. He’s called Obnoxious Tricky Dick! He’d lie and cheat and hit and steal, and wouldn’t care how bad you’d feel,” and stories within the collection see Nixon getting bitten by a dog and shooting himself with his own gun.\u003c/p>\n\u003cfigure id=\"attachment_13863813\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863813 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg\" alt=\"L: Robert and Philip Spence's war-time parody. R: 1974's 'Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann's Der Struwwelpeter' by Joseph Wortis.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L: Robert and Philip Spence’s war-time parody. R: 1974’s ‘Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann’s Der Struwwelpeter’ by Joseph Wortis.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em> is still incredibly easy to find today, whether that be in the form of the original book, updated \u003ca href=\"https://www.youtube.com/watch?v=p3QyMA-Pmk4\">animations\u003c/a> that tell the traditional stories, or in the influence it has left behind on other people’s creations. Whether or not it remains appropriate reading for modern-day children remains to be seen, but those that grew up with it are left with vivid memories. “My grandparents had a copy when I was a kid,” KQED’s Senior Social Media Strategist, Carly Severn, recently told me, smile quickly turning to a grimace. “It scared the everloving \u003cem>scheisse\u003c/em> out of me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Jaws' Shark Gets His Bite Back: A Love Story",
"headTitle": "‘Jaws’ Shark Gets His Bite Back: A Love Story | KQED",
"content": "\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\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=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\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=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico",
"headTitle": "Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico | KQED",
"content": "\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "'Moving in Place' evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\r\n",
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"title": "Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico | KQED",
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"headline": "Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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