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"slug": "prelinger-archive-staff-picks-screenings-internet-archive",
"title": "Eclectic, Newly Unearthed Films to Be Screened for the First Time in Decades",
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"content": "\u003cp>Three years ago, with a grant from the \u003ca href=\"https://ffdweb.org/blog/ffdw-works-with-prelinger-archives-to-make-rare-historic-films-more-accessible-using-the-decentralized-web/\">Filecoin Foundation for the Decentralized Web\u003c/a>, a small team of archivists sped up their work of digitizing films in the Prelinger Archives, \u003ca href=\"https://www.kqed.org/news/11980380/this-san-francisco-library-collects-print-materials-you-were-never-meant-to-see\">Megan and Rick Prelinger\u003c/a>’s massive collection of home movies and advertising, educational and industrial films.\u003c/p>\n\u003cp>[aside postID='news_11980380,arts_13969527,arts_13958735']So far, Prelinger Archives staff have scanned over 3 million feet of film, equal to approximately 10,000 rare and one-of-a-kind films — still just a percentage of the archives’ total holdings. “We would need like a 10-year project” to scan it all, laughs Project Manager Adrianne Finelli. The collection holds over 40,000 home movies alone. \u003c/p>\n\u003cp>After these years of immersion, Finelli and her coworkers are presenting, in very personal ways, some of their findings. “Staff Picks from the Prelinger Archives” will be shown at two public events: a Zoom screening courtesy of the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on Friday, March 21 and a live screening at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on Monday, March 24.\u003c/p>\n\u003cp>Founded in 1983, the Prelinger Archives is full of weird and wonderful arcana, like the 1947 social guidance short \u003ci>\u003ca href=\"https://archive.org/details/ShyGuy1947\">Shy Guy\u003c/a>\u003c/i>, in which a high schooler takes cues from the popular kids and finds his way “in.” The Library of Congress purchased over 48,000 items from the archives in 2002; since then, the collection has prioritized home movies and amateur films. Attendees of Rick Prelinger’s \u003ci>\u003ca href=\"https://www.kqed.org/forum/2010101895114/lost-landscapes-spotlights-bay-area-history-with-found-footage\">Lost Landscapes\u003c/a>\u003c/i> screenings know how home movies can provide magical and relatable glimpses into everyday history.\u003c/p>\n\u003cp>Getting these 8mm, 16mm and 35mm reels online involves a very physical process, starting with identifying which films are even sturdy enough to scan. Film preparers take stock of the reels in their various storage sites, making note of any labels or identifying materials that can help pinpoint the more mysterious holdings.\u003c/p>\n\u003cfigure id=\"attachment_13972935\" class=\"wp-caption aligncenter\" style=\"max-width: 1846px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png\" alt=\"human silhouette outlined in green, floating in space\" width=\"1846\" height=\"1452\" class=\"size-full wp-image-13972935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png 1846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-800x629.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1020x802.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1536x1208.png 1536w\" sizes=\"auto, (max-width: 1846px) 100vw, 1846px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jen Miko’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Chao’s portion of “Staff Picks” is an homage to the many styles of handwriting encountered in this process. “Sometimes we’ll just try to help each other read something,” Finelli says. Chao will show clips from corresponding home movies while focusing on the poetry of these bits of ephemera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Digital Asset Manager Kristin Lipska, whose own work on the project is very behind the scenes, presents what Finelli calls “a celebration of invisible labor,” a series of outtakes from industrial and sponsored films. (Lipska is also the person behind the delightful Instagram account \u003ca href=\"https://www.instagram.com/clapperboardcuties/\">@clapperboardcuties\u003c/a>.)\u003c/p>\n\u003cp>The fact that we even get to see a casually dressed young man with a clapperboard on the set of a railroad safety film is rare enough. “Most archives don’t collect outtakes. They don’t prioritize it, they don’t have room for it,” Finelli says. Alongside the awkward staginess of educational and industrial films, outtakes provide precious moments of reality that speak to the time and place of their making (and the people doing that work). \u003c/p>\n\u003cfigure id=\"attachment_13972932\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png\" alt=\"film still of a woman batting in softball game, 50s-era cars behind\" width=\"816\" height=\"591\" class=\"size-full wp-image-13972932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-800x579.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-768x556.png 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">A still from Megan Needels’ presentation at the Prelinger Archives ‘Staff Picks’ program. \u003ccite>(Courtesy of Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other presentations touch on the surprising beauty of warped and damaged celluloid (from Jen Miko); landscapes marked by colonialism, climate change and gentrification (from Kate Dollenmayer); and a deep dive into one 1950s Midwestern home movie (from Megan Needels).\u003c/p>\n\u003cp>[aside postID='arts_13970787']Needels uses that home movie of women playing softball, drinking beer and having a slumber party to illustrate the tricky task of categorizing historical material. To a contemporary eye, this footage reads as queer. Is it possible to retroactively flag that reading in an ethical way? Needels and Dollenmayer landed on the tag “possible LGBTQ+ research interest.”\u003c/p>\n\u003cp>“A big part of this project, bigger than we anticipated, is thinking about language — how to describe what we’re scanning and how to do that in a sensitive way,” Finelli says. “We’re even more dedicated to that because of what’s happening in the country.” \u003c/p>\n\u003cp>An Indigenous advisory group, which includes filmmaker and professor \u003ca href=\"https://drownedland.com/\">Colleen Thurston\u003c/a>, consults the Prelinger Archives on how to address issues like cultural appropriation and filming of sacred sites. Certain pieces of footage will likely be held back from public access.\u003c/p>\n\u003cfigure id=\"attachment_13972937\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png\" alt=\"Asian people walking in front of vibrant tile pattern in 40s or 50s clothing\" width=\"962\" height=\"855\" class=\"size-full wp-image-13972937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-800x711.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-768x683.png 768w\" sizes=\"auto, (max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">A still from Adrianne Finelli’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finelli’s own contribution to “Staff Picks” draws from the work of Henry Charles Fleischer, an Edison, New Jersey commercial filmmaker with an artist’s eye. “Mine’s really a tribute to his filmmaking, a compilation of his footage and a call for makers to use his films,” Finelli says. “They’re beautiful, and there are thousands of possible new works that live within them.”\u003c/p>\n\u003cp>Ultimately, the goal of the entire project is “mass digitizing for mass access,” Finelli says. The “Staff Picks” presentations are just six avenues into the archives’ vast amount of material. And by the end of summer 2026, researchers, artists and filmmakers will get to make use of all these staffers’ labor, bringing new life to strange, illuminating and forgotten slices of celluloid history.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘Staff Picks from the Prelinger Archives’ is hosted by the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on March 21, 12–1 p.m. via Zoom. \u003ca href=\"https://us02web.zoom.us/webinar/register/WN_w4ohB6-aRoy6-bp2EZRuIA#/registration\">Registration is here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>An in-person screening will take place at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on March 24, 7–9 p.m. featuring additional presentations by Megan Shaw Prelinger and Brian Eggert. \u003ca href=\"https://www.eventbrite.com/e/staff-picks-from-the-prelinger-archives-tickets-1261633011299?aff=oddtdtcreator\">RSVP here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three years ago, with a grant from the \u003ca href=\"https://ffdweb.org/blog/ffdw-works-with-prelinger-archives-to-make-rare-historic-films-more-accessible-using-the-decentralized-web/\">Filecoin Foundation for the Decentralized Web\u003c/a>, a small team of archivists sped up their work of digitizing films in the Prelinger Archives, \u003ca href=\"https://www.kqed.org/news/11980380/this-san-francisco-library-collects-print-materials-you-were-never-meant-to-see\">Megan and Rick Prelinger\u003c/a>’s massive collection of home movies and advertising, educational and industrial films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So far, Prelinger Archives staff have scanned over 3 million feet of film, equal to approximately 10,000 rare and one-of-a-kind films — still just a percentage of the archives’ total holdings. “We would need like a 10-year project” to scan it all, laughs Project Manager Adrianne Finelli. The collection holds over 40,000 home movies alone. \u003c/p>\n\u003cp>After these years of immersion, Finelli and her coworkers are presenting, in very personal ways, some of their findings. “Staff Picks from the Prelinger Archives” will be shown at two public events: a Zoom screening courtesy of the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on Friday, March 21 and a live screening at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on Monday, March 24.\u003c/p>\n\u003cp>Founded in 1983, the Prelinger Archives is full of weird and wonderful arcana, like the 1947 social guidance short \u003ci>\u003ca href=\"https://archive.org/details/ShyGuy1947\">Shy Guy\u003c/a>\u003c/i>, in which a high schooler takes cues from the popular kids and finds his way “in.” The Library of Congress purchased over 48,000 items from the archives in 2002; since then, the collection has prioritized home movies and amateur films. Attendees of Rick Prelinger’s \u003ci>\u003ca href=\"https://www.kqed.org/forum/2010101895114/lost-landscapes-spotlights-bay-area-history-with-found-footage\">Lost Landscapes\u003c/a>\u003c/i> screenings know how home movies can provide magical and relatable glimpses into everyday history.\u003c/p>\n\u003cp>Getting these 8mm, 16mm and 35mm reels online involves a very physical process, starting with identifying which films are even sturdy enough to scan. Film preparers take stock of the reels in their various storage sites, making note of any labels or identifying materials that can help pinpoint the more mysterious holdings.\u003c/p>\n\u003cfigure id=\"attachment_13972935\" class=\"wp-caption aligncenter\" style=\"max-width: 1846px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png\" alt=\"human silhouette outlined in green, floating in space\" width=\"1846\" height=\"1452\" class=\"size-full wp-image-13972935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png 1846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-800x629.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1020x802.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1536x1208.png 1536w\" sizes=\"auto, (max-width: 1846px) 100vw, 1846px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jen Miko’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Chao’s portion of “Staff Picks” is an homage to the many styles of handwriting encountered in this process. “Sometimes we’ll just try to help each other read something,” Finelli says. Chao will show clips from corresponding home movies while focusing on the poetry of these bits of ephemera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Digital Asset Manager Kristin Lipska, whose own work on the project is very behind the scenes, presents what Finelli calls “a celebration of invisible labor,” a series of outtakes from industrial and sponsored films. (Lipska is also the person behind the delightful Instagram account \u003ca href=\"https://www.instagram.com/clapperboardcuties/\">@clapperboardcuties\u003c/a>.)\u003c/p>\n\u003cp>The fact that we even get to see a casually dressed young man with a clapperboard on the set of a railroad safety film is rare enough. “Most archives don’t collect outtakes. They don’t prioritize it, they don’t have room for it,” Finelli says. Alongside the awkward staginess of educational and industrial films, outtakes provide precious moments of reality that speak to the time and place of their making (and the people doing that work). \u003c/p>\n\u003cfigure id=\"attachment_13972932\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png\" alt=\"film still of a woman batting in softball game, 50s-era cars behind\" width=\"816\" height=\"591\" class=\"size-full wp-image-13972932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-800x579.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-768x556.png 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">A still from Megan Needels’ presentation at the Prelinger Archives ‘Staff Picks’ program. \u003ccite>(Courtesy of Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other presentations touch on the surprising beauty of warped and damaged celluloid (from Jen Miko); landscapes marked by colonialism, climate change and gentrification (from Kate Dollenmayer); and a deep dive into one 1950s Midwestern home movie (from Megan Needels).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Needels uses that home movie of women playing softball, drinking beer and having a slumber party to illustrate the tricky task of categorizing historical material. To a contemporary eye, this footage reads as queer. Is it possible to retroactively flag that reading in an ethical way? Needels and Dollenmayer landed on the tag “possible LGBTQ+ research interest.”\u003c/p>\n\u003cp>“A big part of this project, bigger than we anticipated, is thinking about language — how to describe what we’re scanning and how to do that in a sensitive way,” Finelli says. “We’re even more dedicated to that because of what’s happening in the country.” \u003c/p>\n\u003cp>An Indigenous advisory group, which includes filmmaker and professor \u003ca href=\"https://drownedland.com/\">Colleen Thurston\u003c/a>, consults the Prelinger Archives on how to address issues like cultural appropriation and filming of sacred sites. Certain pieces of footage will likely be held back from public access.\u003c/p>\n\u003cfigure id=\"attachment_13972937\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png\" alt=\"Asian people walking in front of vibrant tile pattern in 40s or 50s clothing\" width=\"962\" height=\"855\" class=\"size-full wp-image-13972937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-800x711.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-768x683.png 768w\" sizes=\"auto, (max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">A still from Adrianne Finelli’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finelli’s own contribution to “Staff Picks” draws from the work of Henry Charles Fleischer, an Edison, New Jersey commercial filmmaker with an artist’s eye. “Mine’s really a tribute to his filmmaking, a compilation of his footage and a call for makers to use his films,” Finelli says. “They’re beautiful, and there are thousands of possible new works that live within them.”\u003c/p>\n\u003cp>Ultimately, the goal of the entire project is “mass digitizing for mass access,” Finelli says. The “Staff Picks” presentations are just six avenues into the archives’ vast amount of material. And by the end of summer 2026, researchers, artists and filmmakers will get to make use of all these staffers’ labor, bringing new life to strange, illuminating and forgotten slices of celluloid history.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘Staff Picks from the Prelinger Archives’ is hosted by the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on March 21, 12–1 p.m. via Zoom. \u003ca href=\"https://us02web.zoom.us/webinar/register/WN_w4ohB6-aRoy6-bp2EZRuIA#/registration\">Registration is here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>An in-person screening will take place at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on March 24, 7–9 p.m. featuring additional presentations by Megan Shaw Prelinger and Brian Eggert. \u003ca href=\"https://www.eventbrite.com/e/staff-picks-from-the-prelinger-archives-tickets-1261633011299?aff=oddtdtcreator\">RSVP here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Was Your Exhibition Canceled? There’s a New Grant for That",
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"content": "\u003cp>San Francisco gallery Ever Gold [Projects] and the Internet Archive, who usually partner on an annual residency program, have instead diverted this year’s residency funds into grants for Bay Area artists. The \u003ca href=\"https://evergoldprojects.com/artist-grant/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Emerging Visual Artist Exhibition Production Relief Grant\u003c/a> is specifically geared to assist those who made work for shows that are now either delayed or outright canceled due to the coronavirus pandemic. \u003c/p>\n\u003cp>The relief grant will award a total of $30,000, in increments of $1,000 each, to 30 artists. A jury of four arts professionals will evaluate the applications, basing their decisions on documentation of the work made to be shown, summaries of production costs, and a draft or finished exhibition press release.\u003c/p>\n\u003cp>[aside postID='arts_13876893' hero='https://ww2.kqed.org/app/uploads/sites/2/2020/03/MutualAid2_COVER-1020x573.jpg']The grant is narrow in scope, but addresses the precarious financial standing of the local emerging art scene. Many artists spend hundreds, if not thousands of dollars out of pocket to prepare for commercial exhibitions—expenses that are only recouped if dealers succeed in selling their work. (Even in ordinary times, this system puts a burden on artists, since payments from galleries are not usually distributed until after a show closes.)\u003c/p>\n\u003cp>Only Bay Area artists who were preparing to show at a local commercial gallery are eligible to apply for the relief grant. They must have had a solo, two or three-person exhibition scheduled between March and September 2020 that was canceled or delayed due to the pandemic. \u003c/p>\n\u003cp>Like we’ve seen with other relief funds, speed is of the essence here: applications for the relief grant open Tuesday, May 12 at 9am, with only 400 slots available. The applications will remain open until 4pm on Friday, May 15. \u003c/p>\n\u003cp>In addition to the $1,000 grants, the project will include an online exhibition featuring the awardees, to take place in June. \u003c/p>\n\u003cp>For more information, \u003ca href=\"https://evergoldprojects.com/artist-grant/\" rel=\"noopener noreferrer\" target=\"_blank\">see here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco gallery Ever Gold [Projects] and the Internet Archive, who usually partner on an annual residency program, have instead diverted this year’s residency funds into grants for Bay Area artists. The \u003ca href=\"https://evergoldprojects.com/artist-grant/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Emerging Visual Artist Exhibition Production Relief Grant\u003c/a> is specifically geared to assist those who made work for shows that are now either delayed or outright canceled due to the coronavirus pandemic. \u003c/p>\n\u003cp>The relief grant will award a total of $30,000, in increments of $1,000 each, to 30 artists. A jury of four arts professionals will evaluate the applications, basing their decisions on documentation of the work made to be shown, summaries of production costs, and a draft or finished exhibition press release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The grant is narrow in scope, but addresses the precarious financial standing of the local emerging art scene. Many artists spend hundreds, if not thousands of dollars out of pocket to prepare for commercial exhibitions—expenses that are only recouped if dealers succeed in selling their work. (Even in ordinary times, this system puts a burden on artists, since payments from galleries are not usually distributed until after a show closes.)\u003c/p>\n\u003cp>Only Bay Area artists who were preparing to show at a local commercial gallery are eligible to apply for the relief grant. They must have had a solo, two or three-person exhibition scheduled between March and September 2020 that was canceled or delayed due to the pandemic. \u003c/p>\n\u003cp>Like we’ve seen with other relief funds, speed is of the essence here: applications for the relief grant open Tuesday, May 12 at 9am, with only 400 slots available. The applications will remain open until 4pm on Friday, May 15. \u003c/p>\n\u003cp>In addition to the $1,000 grants, the project will include an online exhibition featuring the awardees, to take place in June. \u003c/p>\n\u003cp>For more information, \u003ca href=\"https://evergoldprojects.com/artist-grant/\" rel=\"noopener noreferrer\" target=\"_blank\">see here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s an old saying in music journalism that writing about music is like dancing about architecture. Perhaps even harder to pull off is a symphonic composition about the evolution of the internet—which is what \u003ca href=\"http://djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> endeavors to do with \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">\u003cem>Quantopia\u003c/em>\u003c/a>, a new piece premiering at Yerba Buena Center for the Arts on Jan. 25.\u003c/p>\n\u003cp>“The basic premise is that we live in a data-driven society, and most of us use our phones, tablets, laptops, monitors as portals into the web,” says DJ Spooky, whose real name is Paul D. Miller. “Music is about patterns and so is the way we interact with the internet. We have patters in everyday life; we have patterns of data that algorithmically drive our tastes and styles. So I thought it would be cool, instead of doing a dry analysis, to do a lyrical approach to pattern recognition.”\u003c/p>\n\u003cp>\u003cem>Quantopia\u003c/em>, an incredibly eclectic work, combines elements as disparate as dial-up modem noises (remember those?), electronic beats and chamber music. Spooky collaborated on the hour-long work with the Internet Archive and data artist Greg Niemeyer, who created visual projections for the performance. String ensemble Classical Revolution and the San Francisco Girls Chorus will join DJ Spooky on stage at YBCA.\u003c/p>\n\u003cp>At the heart of \u003cem>Quantopia\u003c/em> is the idea that the internet is a democratic place for sharing information. \u003ca href=\"http://www.un.org/en/universal-declaration-human-rights/\" target=\"_blank\" rel=\"noopener\">The Universal Declaration of Human Rights\u003c/a>, which posits that everyone has the right to seek and impart information, was a major source of inspiration for DJ Spooky.\u003c/p>\n\u003cp>In our conversation, DJ Spooky mentions how the first message sent over the internet was from UCLA to Stanford, and how its academic background informs its utopian spirit as a place to connect and imagine new worlds. “It was made as this open source, educational space,” he says. “Had it been made at some corporate lab, you probably would’ve had a different internet as we know it.”\u003c/p>\n\u003cp>\u003cem>Quantopia premieres Jan. 25 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/S7ZVQQOdAYg\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>There’s an old saying in music journalism that writing about music is like dancing about architecture. Perhaps even harder to pull off is a symphonic composition about the evolution of the internet—which is what \u003ca href=\"http://djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> endeavors to do with \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">\u003cem>Quantopia\u003c/em>\u003c/a>, a new piece premiering at Yerba Buena Center for the Arts on Jan. 25.\u003c/p>\n\u003cp>“The basic premise is that we live in a data-driven society, and most of us use our phones, tablets, laptops, monitors as portals into the web,” says DJ Spooky, whose real name is Paul D. Miller. “Music is about patterns and so is the way we interact with the internet. We have patters in everyday life; we have patterns of data that algorithmically drive our tastes and styles. So I thought it would be cool, instead of doing a dry analysis, to do a lyrical approach to pattern recognition.”\u003c/p>\n\u003cp>\u003cem>Quantopia\u003c/em>, an incredibly eclectic work, combines elements as disparate as dial-up modem noises (remember those?), electronic beats and chamber music. Spooky collaborated on the hour-long work with the Internet Archive and data artist Greg Niemeyer, who created visual projections for the performance. String ensemble Classical Revolution and the San Francisco Girls Chorus will join DJ Spooky on stage at YBCA.\u003c/p>\n\u003cp>At the heart of \u003cem>Quantopia\u003c/em> is the idea that the internet is a democratic place for sharing information. \u003ca href=\"http://www.un.org/en/universal-declaration-human-rights/\" target=\"_blank\" rel=\"noopener\">The Universal Declaration of Human Rights\u003c/a>, which posits that everyone has the right to seek and impart information, was a major source of inspiration for DJ Spooky.\u003c/p>\n\u003cp>In our conversation, DJ Spooky mentions how the first message sent over the internet was from UCLA to Stanford, and how its academic background informs its utopian spirit as a place to connect and imagine new worlds. “It was made as this open source, educational space,” he says. “Had it been made at some corporate lab, you probably would’ve had a different internet as we know it.”\u003c/p>\n\u003cp>\u003cem>Quantopia premieres Jan. 25 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/S7ZVQQOdAYg'\n title='//www.youtube.com/embed/S7ZVQQOdAYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”[youtube https://www.youtube.com/watch?v=hQ1dkl1ul-s]No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:[youtube https://www.youtube.com/watch?v=tYHGj19RrF0]Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n",
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"excerpt": "Video streaming sites have no incentive to maintain archives of our collective filmic history. But that doesn't mean it's not a thing we should have.",
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"title": "The Eradication of Memory on Netflix, Amazon and Other Streaming Video Sites | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”\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/hQ1dkl1ul-s'\n title='//www.youtube.com/embed/hQ1dkl1ul-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:\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/tYHGj19RrF0'\n title='//www.youtube.com/embed/tYHGj19RrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From the people who brought you the troop surge of 2007, the ongoing war in Afghanistan, drone strikes on Iraqi civilians and untold numbers of troops engaged in the ever-expanding Global War on Terror, we now have the first ever \u003ca href=\"https://www.eventbrite.com/e/military-powerpoint-karaoke-tickets-42882404426\" rel=\"noopener\" target=\"_blank\">Military Powerpoint Karaoke\u003c/a>.\u003c/p>\n\u003cp>On Tuesday, March 6, PowerPoint slides culled from “.mil” web domains by the \u003ca href=\"https://archive.org/\" rel=\"noopener\" target=\"_blank\">Internet Archive\u003c/a> and its partners serve as source material for a performance art event the military industrial complex likely never anticipated. \u003c/p>\n\u003cp>Audience members will step up to a mic and deliver the PowerPoint decks sight unseen, as straight-faced or as performatively as they see fit. Each presentation ends when all slides are clicked through or 5 minutes have passed (whichever comes first). The decks in the Internet Archive’s collection range from tips on “Surviving Driving Holidays ‘07” to an Army presentation on the history, use and dangers of LSD — so expect anything from mundane charts to maps of hate groups in the Midwest. \u003c/p>\n\u003cfigure id=\"attachment_13826023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ngb_army.jpg\" alt=\"A slide from a deck in the Internet Archive's Military Industrial Powerpoint Complex collection. \" width=\"800\" height=\"600\" class=\"size-full wp-image-13826023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A slide from a deck in the Internet Archive’s Military Industrial Powerpoint Complex collection. \u003ccite>(Courtesy of the Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also to be expected: terrible font choices, low-res images, awkward graphics and very strange formatting decisions. For those interested in the aesthetics of ugliness, these PowerPoints are a must-see. And as a bizarrely intimate peek into the military’s internal workings, it’s only fitting the decks should be presented by civilians in an equally vulnerable situation — in front of a small crowd, with improvised authority. \u003c/p>\n\u003cp>Kicking off the night with headlining presentations are Rick Prelinger (of the \u003ca href=\"http://www.prelingerlibrary.org/home/\" rel=\"noopener\" target=\"_blank\">Prelinger Library\u003c/a>, \u003ca href=\"https://archive.org/details/prelinger\" rel=\"noopener\" target=\"_blank\">Prelinger Archives\u003c/a> and \u003ci>Lost Landscapes\u003c/i> films) and \u003ca href=\"https://ww2.kqed.org/arts/2017/07/18/women-to-watch-avery-trufelman/\" rel=\"noopener\" target=\"_blank\">Avery Trufelman\u003c/a> (of the podcast \u003ci>\u003ca href=\"https://99percentinvisible.org/\" rel=\"noopener\" target=\"_blank\">99% Invisible\u003c/a>\u003c/i>). Whether you’re a quick-witted raconteur with killer stage presence or simply an enthusiastic audience member, the night’s sure to be illuminating. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Military Powerpoint Karaoke takes place at the Internet Archive in San Francisco (300 Funston Avenue) on Tuesday, March 6, 7:30pm. \u003ca href=\"https://www.eventbrite.com/e/military-powerpoint-karaoke-tickets-42882404426\" rel=\"noopener\" target=\"_blank\">Register for free tickets here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the people who brought you the troop surge of 2007, the ongoing war in Afghanistan, drone strikes on Iraqi civilians and untold numbers of troops engaged in the ever-expanding Global War on Terror, we now have the first ever \u003ca href=\"https://www.eventbrite.com/e/military-powerpoint-karaoke-tickets-42882404426\" rel=\"noopener\" target=\"_blank\">Military Powerpoint Karaoke\u003c/a>.\u003c/p>\n\u003cp>On Tuesday, March 6, PowerPoint slides culled from “.mil” web domains by the \u003ca href=\"https://archive.org/\" rel=\"noopener\" target=\"_blank\">Internet Archive\u003c/a> and its partners serve as source material for a performance art event the military industrial complex likely never anticipated. \u003c/p>\n\u003cp>Audience members will step up to a mic and deliver the PowerPoint decks sight unseen, as straight-faced or as performatively as they see fit. Each presentation ends when all slides are clicked through or 5 minutes have passed (whichever comes first). The decks in the Internet Archive’s collection range from tips on “Surviving Driving Holidays ‘07” to an Army presentation on the history, use and dangers of LSD — so expect anything from mundane charts to maps of hate groups in the Midwest. \u003c/p>\n\u003cfigure id=\"attachment_13826023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ngb_army.jpg\" alt=\"A slide from a deck in the Internet Archive's Military Industrial Powerpoint Complex collection. \" width=\"800\" height=\"600\" class=\"size-full wp-image-13826023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngb_army-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A slide from a deck in the Internet Archive’s Military Industrial Powerpoint Complex collection. \u003ccite>(Courtesy of the Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also to be expected: terrible font choices, low-res images, awkward graphics and very strange formatting decisions. For those interested in the aesthetics of ugliness, these PowerPoints are a must-see. And as a bizarrely intimate peek into the military’s internal workings, it’s only fitting the decks should be presented by civilians in an equally vulnerable situation — in front of a small crowd, with improvised authority. \u003c/p>\n\u003cp>Kicking off the night with headlining presentations are Rick Prelinger (of the \u003ca href=\"http://www.prelingerlibrary.org/home/\" rel=\"noopener\" target=\"_blank\">Prelinger Library\u003c/a>, \u003ca href=\"https://archive.org/details/prelinger\" rel=\"noopener\" target=\"_blank\">Prelinger Archives\u003c/a> and \u003ci>Lost Landscapes\u003c/i> films) and \u003ca href=\"https://ww2.kqed.org/arts/2017/07/18/women-to-watch-avery-trufelman/\" rel=\"noopener\" target=\"_blank\">Avery Trufelman\u003c/a> (of the podcast \u003ci>\u003ca href=\"https://99percentinvisible.org/\" rel=\"noopener\" target=\"_blank\">99% Invisible\u003c/a>\u003c/i>). Whether you’re a quick-witted raconteur with killer stage presence or simply an enthusiastic audience member, the night’s sure to be illuminating. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Military Powerpoint Karaoke takes place at the Internet Archive in San Francisco (300 Funston Avenue) on Tuesday, March 6, 7:30pm. \u003ca href=\"https://www.eventbrite.com/e/military-powerpoint-karaoke-tickets-42882404426\" rel=\"noopener\" target=\"_blank\">Register for free tickets here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
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},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
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"officialWebsiteLink": "/perspectives/",
"meta": {
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"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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