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"disqusTitle": "Carrie Fisher Opens Up About 'Star Wars,' The Gold Bikini And Her On-Set Affair",
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"content": "\u003cp>Carrie Fisher was an insecure 19-year-old when she appeared as Princess Leia in the first \u003cem>Star Wars\u003c/em> movie, a role that would come to define her career. She tells \u003cem>Fresh Air\u003c/em>’s Terry Gross that despite becoming romantically involved with her older, married co-star, Harrison Ford, she often felt isolated on set.\u003c/p>\n\u003cp>\"I didn't have anyone to confide in,\" she says. \"I had no friends, and I couldn't talk about [the affair with Ford] because he was married.\"\u003c/p>\n\u003cp>Instead, Fisher began recording her thoughts and experiences in a journal. After the film wrapped, she put the diary away and forgot about it. Decades later, the diary resurfaced during a remodeling project.\u003c/p>\n\u003cp>Now Fisher has turned that diary into a memoir called \u003cem>The Princess Diarist.\u003c/em> The book revisits the making of the first \u003cem>Star Wars\u003c/em> film and includes excerpts from the journal. The actress says she was determined to share her experiences with others, even if parts of the journal feel very personal.\u003c/p>\n\u003cp>\"I think I do overshare,\" Fisher says. \"It's my way of trying to understand myself. ... It creates community when you talk about private things.\"\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85.jpg\">\u003cimg class=\"alignright size-full wp-image-50311\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85.jpg\" alt=\"9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85\" width=\"386\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85.jpg 386w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85-160x249.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85-240x373.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85-375x583.jpg 375w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003c/a>On \u003c/strong>\u003cstrong>telling Harrison Ford that she was going to write about their affair\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wouldn't have ambushed him like that, but it's still — no matter if I told him or not, it probably feels like an ambush. It feels like an ambush to me, and I'm the one that wrote it. ...\u003c/p>\n\u003cp>I said, \"I found the journals that I kept during the first movie and I'm probably going to publish them.\" And he just sort of raised his finger and said, \"Lawyer!\" And then I said, \"No, I won't write anything that you don't want. I mean, I'll show it to you before and you can take anything out that you want taken out. I don't want to make you uncomfortable,\" which I, of course, have. Unduly uncomfortable. ...\u003c/p>\n\u003cp>I sent it to him ... [and] I never heard back, so I can't imagine that he was comfortable with everything that was in it. But it's not like it's negative about him — it's just a personal story that's been a secret for a long time.\u003c/p>\n\u003cp>\u003cstrong>On what their on-set affair was like\u003c/strong>\u003c/p>\n\u003cp>He's not the warmest person. He's not accessible, let's say that. He doesn't talk a lot, and I'm very extroverted. ... It was sort of one-half of a conversation was happening. ... I didn't pick him. ... I didn't even have the nerve to have a crush on him there. I thought he was out of my range, if I even thought about it. He was so much older than I was, and he was married.\u003c/p>\n\u003cp>\u003cstrong>On how their off-screen relationship affected their characters' on-screen chemistry \u003c/strong>\u003c/p>\n\u003cp>I think it made us more comfortable with one another. I think it made me more able to wisecrack to him, even if I was insecure. We were having an affair, so there was something to base some security on, I don't know. There was chemistry there and you can see it. So I don't know which came first, the chemistry in the film or the chemistry in the world.\u003c/p>\n\u003cp>\u003cstrong>On filming the iconic \u003cem>Return of the Jedi\u003c/em> scene in which Han Solo and Luke Skywalker try to save Princess Leia from\u003c/strong> \u003cstrong>Jabba the Hutt, an alien gangster who has taken her as a slave and forced her to wear a revealing gold metal bikini\u003c/strong>\u003c/p>\n\u003cp>When we first rehearsed it, [Han (Ford) and Luke (Mark Hamill) are] brought in front of Jabba. They talk to Jabba, Jabba talks to Harrison and Mark, and then they're led off. They never say, \"Hey, how are you?\" So as they were being led off, I said, in the rehearsal, \"Don't worry about me! I'll be fine! Seriously!\" which I thought they should've kept in there.\u003c/p>\n\u003cp>It was like, \"Where am I in all of this?\" ... I have to stay with the slug with the big tongue! Nearly naked, which is not a style choice for me. ... It wasn't my choice. When [director George Lucas] showed me the outfit, I thought he was kidding and it made me very nervous. I had to sit very straight because I couldn't have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight. ...\u003c/p>\n\u003cp>What redeems it is I get to kill him, which was so enjoyable. ... I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn't wait to kill him.\u003c/p>\n\u003cfigure id=\"attachment_50309\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b.jpg\">\u003cimg class=\"size-large wp-image-50309\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1020x765.jpg\" alt=\"Carrie Fisher reprised her role of Princess Leia in the 2015 film Star Wars: The Force Awakens.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carrie Fisher reprised her role of Princess Leia in the 2015 film Star Wars: The Force Awakens. \u003ccite>(Photo: Riccardo Ghilardi / Penguin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On her favorite Comic Con Princess Leia costume\u003c/strong>\u003c/p>\n\u003cp>My favorite one to see is the metal bikini — on men! That is what has been happening a lot. A lot. And not thin men, by the way! So that makes me feel good about myself, kind of a before-and-after thing — this is \u003cem>way \u003c/em>after. Not only is Princess Leia fatter, she's a guy!\u003c/p>\n\u003cp>\u003cstrong>On her mother, actress Debbie Reynolds \u003c/strong>\u003c/p>\n\u003cp>She's an immensely powerful woman, and I just admire my mother very much. She also annoys me sometimes when she's mad at the nurses, but she's an extraordinary woman. Extraordinary. There's very few women from her generation who worked like that, who just kept a career going all her life, and raised children, and had horrible relationships, and lost all her money, and got it back again. I mean, she's had an amazing life, and she's someone to admire.\u003c/p>\n\u003cp>\u003cstrong>On how she felt about her mother's celebrity growing up \u003c/strong>\u003c/p>\n\u003cp>I had to share her and I didn't like that. When we went out, people sort of walked over me to get to her, and no, I didn't like it. And people thought — I overheard people saying, \"She thinks she's so great because she's Debbie Reynolds' daughter!\" And I didn't like it; it made me different from other people and I wanted to be the same. I wanted to be, you know, just no different than anybody else.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview!\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/503580112/503618534\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carrie+Fisher+Opens+Up+About+%27Star+Wars%2C%27+The+Gold+Bikini+And+Her+On-Set+Affair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carrie Fisher was an insecure 19-year-old when she appeared as Princess Leia in the first \u003cem>Star Wars\u003c/em> movie, a role that would come to define her career. She tells \u003cem>Fresh Air\u003c/em>’s Terry Gross that despite becoming romantically involved with her older, married co-star, Harrison Ford, she often felt isolated on set.\u003c/p>\n\u003cp>\"I didn't have anyone to confide in,\" she says. \"I had no friends, and I couldn't talk about [the affair with Ford] because he was married.\"\u003c/p>\n\u003cp>Instead, Fisher began recording her thoughts and experiences in a journal. After the film wrapped, she put the diary away and forgot about it. Decades later, the diary resurfaced during a remodeling project.\u003c/p>\n\u003cp>Now Fisher has turned that diary into a memoir called \u003cem>The Princess Diarist.\u003c/em> The book revisits the making of the first \u003cem>Star Wars\u003c/em> film and includes excerpts from the journal. The actress says she was determined to share her experiences with others, even if parts of the journal feel very personal.\u003c/p>\n\u003cp>\"I think I do overshare,\" Fisher says. \"It's my way of trying to understand myself. ... It creates community when you talk about private things.\"\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85.jpg\">\u003cimg class=\"alignright size-full wp-image-50311\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85.jpg\" alt=\"9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85\" width=\"386\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85.jpg 386w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85-160x249.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85-240x373.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/9780399173592_custom-4ad32be0078bbd96523707c7a34fe7041a170269-s400-c85-375x583.jpg 375w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003c/a>On \u003c/strong>\u003cstrong>telling Harrison Ford that she was going to write about their affair\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wouldn't have ambushed him like that, but it's still — no matter if I told him or not, it probably feels like an ambush. It feels like an ambush to me, and I'm the one that wrote it. ...\u003c/p>\n\u003cp>I said, \"I found the journals that I kept during the first movie and I'm probably going to publish them.\" And he just sort of raised his finger and said, \"Lawyer!\" And then I said, \"No, I won't write anything that you don't want. I mean, I'll show it to you before and you can take anything out that you want taken out. I don't want to make you uncomfortable,\" which I, of course, have. Unduly uncomfortable. ...\u003c/p>\n\u003cp>I sent it to him ... [and] I never heard back, so I can't imagine that he was comfortable with everything that was in it. But it's not like it's negative about him — it's just a personal story that's been a secret for a long time.\u003c/p>\n\u003cp>\u003cstrong>On what their on-set affair was like\u003c/strong>\u003c/p>\n\u003cp>He's not the warmest person. He's not accessible, let's say that. He doesn't talk a lot, and I'm very extroverted. ... It was sort of one-half of a conversation was happening. ... I didn't pick him. ... I didn't even have the nerve to have a crush on him there. I thought he was out of my range, if I even thought about it. He was so much older than I was, and he was married.\u003c/p>\n\u003cp>\u003cstrong>On how their off-screen relationship affected their characters' on-screen chemistry \u003c/strong>\u003c/p>\n\u003cp>I think it made us more comfortable with one another. I think it made me more able to wisecrack to him, even if I was insecure. We were having an affair, so there was something to base some security on, I don't know. There was chemistry there and you can see it. So I don't know which came first, the chemistry in the film or the chemistry in the world.\u003c/p>\n\u003cp>\u003cstrong>On filming the iconic \u003cem>Return of the Jedi\u003c/em> scene in which Han Solo and Luke Skywalker try to save Princess Leia from\u003c/strong> \u003cstrong>Jabba the Hutt, an alien gangster who has taken her as a slave and forced her to wear a revealing gold metal bikini\u003c/strong>\u003c/p>\n\u003cp>When we first rehearsed it, [Han (Ford) and Luke (Mark Hamill) are] brought in front of Jabba. They talk to Jabba, Jabba talks to Harrison and Mark, and then they're led off. They never say, \"Hey, how are you?\" So as they were being led off, I said, in the rehearsal, \"Don't worry about me! I'll be fine! Seriously!\" which I thought they should've kept in there.\u003c/p>\n\u003cp>It was like, \"Where am I in all of this?\" ... I have to stay with the slug with the big tongue! Nearly naked, which is not a style choice for me. ... It wasn't my choice. When [director George Lucas] showed me the outfit, I thought he was kidding and it made me very nervous. I had to sit very straight because I couldn't have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight. ...\u003c/p>\n\u003cp>What redeems it is I get to kill him, which was so enjoyable. ... I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn't wait to kill him.\u003c/p>\n\u003cfigure id=\"attachment_50309\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b.jpg\">\u003cimg class=\"size-large wp-image-50309\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1020x765.jpg\" alt=\"Carrie Fisher reprised her role of Princess Leia in the 2015 film Star Wars: The Force Awakens.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2016/11/cf-author-photo-credit-riccardo-ghilardi-ae639a7257d4eee58a2ee047639d05af3a2ba19b.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carrie Fisher reprised her role of Princess Leia in the 2015 film Star Wars: The Force Awakens. \u003ccite>(Photo: Riccardo Ghilardi / Penguin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On her favorite Comic Con Princess Leia costume\u003c/strong>\u003c/p>\n\u003cp>My favorite one to see is the metal bikini — on men! That is what has been happening a lot. A lot. And not thin men, by the way! So that makes me feel good about myself, kind of a before-and-after thing — this is \u003cem>way \u003c/em>after. Not only is Princess Leia fatter, she's a guy!\u003c/p>\n\u003cp>\u003cstrong>On her mother, actress Debbie Reynolds \u003c/strong>\u003c/p>\n\u003cp>She's an immensely powerful woman, and I just admire my mother very much. She also annoys me sometimes when she's mad at the nurses, but she's an extraordinary woman. Extraordinary. There's very few women from her generation who worked like that, who just kept a career going all her life, and raised children, and had horrible relationships, and lost all her money, and got it back again. I mean, she's had an amazing life, and she's someone to admire.\u003c/p>\n\u003cp>\u003cstrong>On how she felt about her mother's celebrity growing up \u003c/strong>\u003c/p>\n\u003cp>I had to share her and I didn't like that. When we went out, people sort of walked over me to get to her, and no, I didn't like it. And people thought — I overheard people saying, \"She thinks she's so great because she's Debbie Reynolds' daughter!\" And I didn't like it; it made me different from other people and I wanted to be the same. I wanted to be, you know, just no different than anybody else.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Michelle Maxson Brings North Bay Talent to the Screen with 'Burn Country'",
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"content": "\u003cp>\u003cem>Backstage Heroes is a biweekly column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>On a recent fall afternoon, I found myself seated on a casting couch — but in Michelle Maxson’s airy living room in Petaluma, I found the inversion, or the evolution, of that icky backroom stereotype. Maxson is the local casting director for the upcoming independent film \u003ca href=\"http://www.imdb.com/title/tt3519772/\" target=\"_blank\" rel=\"noopener\">\u003cem>Burn Country\u003c/em>\u003c/a>, directed and co-written by Sonoma County-raised filmmaker Ian Olds.\u003c/p>\n\u003cp>\u003cem>Burn Country\u003c/em>, which stars Melissa Leo and James Franco, finds an Afghani war zone “fixer” arriving, safely away from home, at a fictionalized but highly realistic version of small-town Northern California. After its star, Dominic Rains, won Best Actor at the Tribeca Film Festival, the project was \u003ca href=\"http://deadline.com/2016/09/burn-country-dominic-rains-release-date-samuel-goldwyn-orion-pictures-1201816023/\" target=\"_blank\" rel=\"noopener\">picked up for distribution by Samuel Goldwyn Films\u003c/a> — this small film has hit the big time.\u003c/p>\n\u003cp>Success only makes it more interesting to note the commitment director Olds and his producers maintained to casting local talent: not only filling the background with extras from the Bay Area, as with, say, Gus van Sant’s \u003cem>Milk\u003c/em>, but pushing the limit of how many featured and speaking roles could be populated with North Bay actors.\u003c/p>\n\u003cp>On that mission, Olds’ captain was Maxson, an accomplished actor and organizer whose deep knowledge of the local acting scene helped make the film into a well-reviewed, complex piece of art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nVKTx0P6MBY\u003c/p>\n\u003cp>Maxson’s waist-length blonde hair grays at the temples, giving her the mien of a wise surfer-girl. It’s a look so awesome that if she were to appear on the cover of a magazine, she might set off a fierce new trend in feminist glamour. While she offers me sparkling water, I mull the industry in question, and figure we’ll talk about herding starstruck Bay Areans at “cattle calls,” or how to battle actor egos.\u003c/p>\n\u003cp>But after admitting she’s nervous about sounding dumb — an actor, nervous? — Maxson proceeds to speak, quickly and with perfect enunciation, for 30 minutes, about art. Far from the power-plays or squabbling of my preconceived notions, the casting director describes the day-to-day of her work in terms of empathy, cooperation, observation — and email.\u003c/p>\n\u003cp>“When I was first learning acting, I was told that the most important person on stage is not you, it’s your partner,” Maxson says. “And it’s your job to make your partner as good as they can possibly be. I’ve always made it a priority to champion my fellow actors.” She stresses the importance of “reading” actors as an actor, not just as a passive voice flatly providing responses during an audition.\u003c/p>\n\u003cp>Rains, the spectacular star of \u003cem>Burn Country\u003c/em>, tells me Maxson delivers. “I was very fortunate to work with Michelle,” he writes in a Facebook message. “What struck me about her and informed my character even more was the compassion and care she brought to the reading. She is one of those rare individuals who connects at the heart and once you’re in tow, all you have to do is let go and go on the ride. She is a magnificent soul with kindness and empathy vibrating at her very fingertips.” There were no cattle calls.\u003c/p>\n\u003cfigure id=\"attachment_12386775\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12386775\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\" alt=\"Maxson a night shoot for Burn Country.\" width=\"597\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-520x293.jpg 520w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxson a night shoot for Burn Country. \u003ccite>(Katrina Marcinowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maxson, who also served as associate producer and appears in the film, lives in Petaluma with two young daughters and her husband, fellow actor Gabe Maxson, who also appears in\u003cem> Burn Country\u003c/em>; his semicomic turn as an inquisitive, philosophical, and deeply inebriated thespian leavens the film at a crucial moment. During production, both parents juggled their jobs as theater teachers at the University of San Francisco an hour away, and shared childcare duties. Several times during our talk, one or the other of the two girls interrupts us, and Maxson gently scoots them back out, her calm responses to their requests always involving the word “sweetie.”\u003c/p>\n\u003cp>“As a casting director — well [as a child yells in next room], this is what it was like!” she says. The children, who are friendly, bright, and confident, seem to have come out on top in the deal.\u003c/p>\n\u003cp>While \u003cem>Burn Country\u003c/em> as a whole is on a high, and primed to “break” Rains and director Olds, Maxson tells me there have been interior victories as well. The role of Carl, played by Tim Kniffin, is a big juicy plum for local casting. The result is a dyed-in-the-wool Northern Californian artist, with focus and skill to spare, in a complicated, challenging role. Onscreen, playing an ersatz cult leader literally writhing in pain of his own creation, Kniffin is clearly eating his own character up with a spoon; he’s great, and the role is great. But how did he get there? A classic Michelle Maxson operation, apparently.\u003c/p>\n\u003cfigure id=\"attachment_12386777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12386777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg\" alt=\"Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-960x750.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-520x406.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival. \u003ccite>(Cindy Ord/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Tim’s part was a bigger part, the kind where typically, you’d try to get a ‘name’ for that,” she says, with a subtle, steely glint in her eye. Working as she did from a pool of “people I had worked with, people I had seen in plays in San Francisco,” Kniffin’s name just kept surfacing.\u003c/p>\n\u003cp>It was mid-production, down to the line for shooting this character’s scenes, and an actor hadn’t been cast yet. Olds was entrenched, and couldn’t get time to rent a space and hold the ensemble-type auditions he sometimes does. So Maxson summoned Kniffin into the very room in which we sit, and made do with the digital equivalent of a Super-8 home movie.\u003c/p>\n\u003cp>“He came here, and I got out my flip camera, do you remember those? They existed for like five minutes before everybody got cell phones. And he was amazing. Ian agreed, and the producers agreed, and he came on board.”\u003c/p>\n\u003cp>Local casting directors don’t always get “broken” into a world of greater opportunities when their films explode, the way directors or actors might. But while \u003cem>Burn Country\u003c/em> — which is currently earning comparisons to \u003cem>Twin Peaks\u003c/em> and \u003cem>Fargo\u003c/em> — looks ready to detonate, Michelle Maxson seems unfazeable. She’s a grown woman with a job and a house and a family and a rich community. That’s how she got here in the first place. That’s why she still wants to talk about what theater means and why she needs to make art at all, as opposed to name-dropping.\u003c/p>\n\u003cp>It’s obvious, actually, that theater is still among her favorite topics, as she recalls her first foray into acting: “It was a way to transform all of that pain, whatever difficulties and challenges we have as human beings, to turn them into something really beautiful,” she says of falling in love with the art form during her first acting class. It’s clearly part of what keeps her going in the industry. “That could possibly be life-changing for other people, as it was life-changing for me.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s like fertilizer,” she says. “It’s like sh-t. You take it and you spread it on the ground and beautiful flowers grow.”\u003c/p>\n\n",
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"excerpt": "Thanks to this unsung casting director, the buzzy new indie film of the moment features the best theatrical talent in Sonoma County.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Backstage Heroes is a biweekly column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>On a recent fall afternoon, I found myself seated on a casting couch — but in Michelle Maxson’s airy living room in Petaluma, I found the inversion, or the evolution, of that icky backroom stereotype. Maxson is the local casting director for the upcoming independent film \u003ca href=\"http://www.imdb.com/title/tt3519772/\" target=\"_blank\" rel=\"noopener\">\u003cem>Burn Country\u003c/em>\u003c/a>, directed and co-written by Sonoma County-raised filmmaker Ian Olds.\u003c/p>\n\u003cp>\u003cem>Burn Country\u003c/em>, which stars Melissa Leo and James Franco, finds an Afghani war zone “fixer” arriving, safely away from home, at a fictionalized but highly realistic version of small-town Northern California. After its star, Dominic Rains, won Best Actor at the Tribeca Film Festival, the project was \u003ca href=\"http://deadline.com/2016/09/burn-country-dominic-rains-release-date-samuel-goldwyn-orion-pictures-1201816023/\" target=\"_blank\" rel=\"noopener\">picked up for distribution by Samuel Goldwyn Films\u003c/a> — this small film has hit the big time.\u003c/p>\n\u003cp>Success only makes it more interesting to note the commitment director Olds and his producers maintained to casting local talent: not only filling the background with extras from the Bay Area, as with, say, Gus van Sant’s \u003cem>Milk\u003c/em>, but pushing the limit of how many featured and speaking roles could be populated with North Bay actors.\u003c/p>\n\u003cp>On that mission, Olds’ captain was Maxson, an accomplished actor and organizer whose deep knowledge of the local acting scene helped make the film into a well-reviewed, complex piece of art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nVKTx0P6MBY'\n title='//www.youtube.com/embed/nVKTx0P6MBY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maxson’s waist-length blonde hair grays at the temples, giving her the mien of a wise surfer-girl. It’s a look so awesome that if she were to appear on the cover of a magazine, she might set off a fierce new trend in feminist glamour. While she offers me sparkling water, I mull the industry in question, and figure we’ll talk about herding starstruck Bay Areans at “cattle calls,” or how to battle actor egos.\u003c/p>\n\u003cp>But after admitting she’s nervous about sounding dumb — an actor, nervous? — Maxson proceeds to speak, quickly and with perfect enunciation, for 30 minutes, about art. Far from the power-plays or squabbling of my preconceived notions, the casting director describes the day-to-day of her work in terms of empathy, cooperation, observation — and email.\u003c/p>\n\u003cp>“When I was first learning acting, I was told that the most important person on stage is not you, it’s your partner,” Maxson says. “And it’s your job to make your partner as good as they can possibly be. I’ve always made it a priority to champion my fellow actors.” She stresses the importance of “reading” actors as an actor, not just as a passive voice flatly providing responses during an audition.\u003c/p>\n\u003cp>Rains, the spectacular star of \u003cem>Burn Country\u003c/em>, tells me Maxson delivers. “I was very fortunate to work with Michelle,” he writes in a Facebook message. “What struck me about her and informed my character even more was the compassion and care she brought to the reading. She is one of those rare individuals who connects at the heart and once you’re in tow, all you have to do is let go and go on the ride. She is a magnificent soul with kindness and empathy vibrating at her very fingertips.” There were no cattle calls.\u003c/p>\n\u003cfigure id=\"attachment_12386775\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12386775\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\" alt=\"Maxson a night shoot for Burn Country.\" width=\"597\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-520x293.jpg 520w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxson a night shoot for Burn Country. \u003ccite>(Katrina Marcinowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maxson, who also served as associate producer and appears in the film, lives in Petaluma with two young daughters and her husband, fellow actor Gabe Maxson, who also appears in\u003cem> Burn Country\u003c/em>; his semicomic turn as an inquisitive, philosophical, and deeply inebriated thespian leavens the film at a crucial moment. During production, both parents juggled their jobs as theater teachers at the University of San Francisco an hour away, and shared childcare duties. Several times during our talk, one or the other of the two girls interrupts us, and Maxson gently scoots them back out, her calm responses to their requests always involving the word “sweetie.”\u003c/p>\n\u003cp>“As a casting director — well [as a child yells in next room], this is what it was like!” she says. The children, who are friendly, bright, and confident, seem to have come out on top in the deal.\u003c/p>\n\u003cp>While \u003cem>Burn Country\u003c/em> as a whole is on a high, and primed to “break” Rains and director Olds, Maxson tells me there have been interior victories as well. The role of Carl, played by Tim Kniffin, is a big juicy plum for local casting. The result is a dyed-in-the-wool Northern Californian artist, with focus and skill to spare, in a complicated, challenging role. Onscreen, playing an ersatz cult leader literally writhing in pain of his own creation, Kniffin is clearly eating his own character up with a spoon; he’s great, and the role is great. But how did he get there? A classic Michelle Maxson operation, apparently.\u003c/p>\n\u003cfigure id=\"attachment_12386777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12386777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg\" alt=\"Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-960x750.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-520x406.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival. \u003ccite>(Cindy Ord/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Tim’s part was a bigger part, the kind where typically, you’d try to get a ‘name’ for that,” she says, with a subtle, steely glint in her eye. Working as she did from a pool of “people I had worked with, people I had seen in plays in San Francisco,” Kniffin’s name just kept surfacing.\u003c/p>\n\u003cp>It was mid-production, down to the line for shooting this character’s scenes, and an actor hadn’t been cast yet. Olds was entrenched, and couldn’t get time to rent a space and hold the ensemble-type auditions he sometimes does. So Maxson summoned Kniffin into the very room in which we sit, and made do with the digital equivalent of a Super-8 home movie.\u003c/p>\n\u003cp>“He came here, and I got out my flip camera, do you remember those? They existed for like five minutes before everybody got cell phones. And he was amazing. Ian agreed, and the producers agreed, and he came on board.”\u003c/p>\n\u003cp>Local casting directors don’t always get “broken” into a world of greater opportunities when their films explode, the way directors or actors might. But while \u003cem>Burn Country\u003c/em> — which is currently earning comparisons to \u003cem>Twin Peaks\u003c/em> and \u003cem>Fargo\u003c/em> — looks ready to detonate, Michelle Maxson seems unfazeable. She’s a grown woman with a job and a house and a family and a rich community. That’s how she got here in the first place. That’s why she still wants to talk about what theater means and why she needs to make art at all, as opposed to name-dropping.\u003c/p>\n\u003cp>It’s obvious, actually, that theater is still among her favorite topics, as she recalls her first foray into acting: “It was a way to transform all of that pain, whatever difficulties and challenges we have as human beings, to turn them into something really beautiful,” she says of falling in love with the art form during her first acting class. It’s clearly part of what keeps her going in the industry. “That could possibly be life-changing for other people, as it was life-changing for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like fertilizer,” she says. “It’s like sh-t. You take it and you spread it on the ground and beautiful flowers grow.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ron Glass, the handsome, prolific character actor best known for his role as the gregarious, sometimes sardonic detective Ron Harris in the long-running cop comedy \u003cem>Barney Miller\u003c/em>, has died at age 71.\u003c/p>\n\u003cp>Glass died Friday of respiratory failure, his agent, Jeffrey Leavett, told The Associated Press on Saturday.\u003c/p>\n\u003cp>“Ron was a private, gentle and caring man,” said Leavett, a longtime friend of the actor. “He was an absolute delight to watch on screen. Words cannot adequately express my sorrow. ”\u003c/p>\n\u003cp>Although best known for \u003cem>Barney Miller\u003c/em>, Glass appeared in dozens of other shows in a television and film career dating to the early 1970s.\u003c/p>\n\u003cp>He portrayed Derrial Book, the spiritual shepherd with a cloudy past in the 2002 science-fiction series \u003cem>Firefly\u003c/em> and its 2005 film sequel \u003cem>Serenity\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was Felix Unger opposite Demond Wilson’s Oscar Madison in \u003cem>The New Odd Couple\u003c/em>, a 1980s reboot of the original Broadway show, film and television series that this time cast black actors in the lead roles of Unger’s prissy neat freak forced to share an apartment with slovenly friend Madison.\u003c/p>\n\u003cp>Glass was also the voice of Randy Carmichael, the genial neighbor and father of four children in the popular Nickelodeon cartoon series \u003cem>Rugrats\u003c/em> and its spinoff, \u003cem>All Grown Up\u003c/em>.\u003c/p>\n\u003cp>He also made appearances in such shows as \u003cem>Friends\u003c/em>, \u003cem>Star Trek: Voyager\u003c/em> and \u003cem>Designing Women\u003c/em>. More recently he appeared in episodes of \u003cem>CSI: Crime Scene Investigation\u003c/em> and \u003cem>Agents of S.H.I.E.L.D.\u003c/em> Early credits included \u003cem>All in the Family\u003c/em>, \u003cem>Maude\u003c/em>, \u003cem>Sanford and Son\u003c/em> and \u003cem>Hawaii Five-0\u003c/em>.\u003c/p>\n\u003cp>In \u003cem>Barney Miller\u003c/em> his literate Detective Ron Harris was one of the few generally normal characters who populated a New York City police precinct filled with oddballs on both sides of the law. The ensemble cast included Hal Linden as precinct Capt. Barney Miller, Max Gail as Detective Stan ‘Wojo’ Wojciehowicz, and Abe Vidgoda as Detective Phil Fish.\u003c/p>\n\u003cp>The show aired from 1975 until 1982, winning two Golden Globes and two Emmy Awards for best comedy series. Glass was nominated for a supporting actor Emmy in 1982.\u003c/p>\n\u003cp>Raised in Evansville, Indiana, Glass received a Bachelor of Arts degree in drama and literature from the University of Evansville.\u003c/p>\n\u003cp>After graduation he moved to Minneapolis where he worked in regional theater before coming to Los Angeles to launch his TV and film career.\u003c/p>\n\u003cp>He was also a member of the board of directors for Los Angeles’ AL Wooten Jr. Heritage Center, an organization named for a man murdered in a gang-initiation drive-by shooting and dedicated to helping inner-city youth stay safe and receive an education.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Information on funeral services and survivors was not immediately available. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ron+Glass%2C+Emmy-Nominated+Actor+Best+Known+For+%27Barney+Miller%2C%27+Has+Died+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was Felix Unger opposite Demond Wilson’s Oscar Madison in \u003cem>The New Odd Couple\u003c/em>, a 1980s reboot of the original Broadway show, film and television series that this time cast black actors in the lead roles of Unger’s prissy neat freak forced to share an apartment with slovenly friend Madison.\u003c/p>\n\u003cp>Glass was also the voice of Randy Carmichael, the genial neighbor and father of four children in the popular Nickelodeon cartoon series \u003cem>Rugrats\u003c/em> and its spinoff, \u003cem>All Grown Up\u003c/em>.\u003c/p>\n\u003cp>He also made appearances in such shows as \u003cem>Friends\u003c/em>, \u003cem>Star Trek: Voyager\u003c/em> and \u003cem>Designing Women\u003c/em>. More recently he appeared in episodes of \u003cem>CSI: Crime Scene Investigation\u003c/em> and \u003cem>Agents of S.H.I.E.L.D.\u003c/em> Early credits included \u003cem>All in the Family\u003c/em>, \u003cem>Maude\u003c/em>, \u003cem>Sanford and Son\u003c/em> and \u003cem>Hawaii Five-0\u003c/em>.\u003c/p>\n\u003cp>In \u003cem>Barney Miller\u003c/em> his literate Detective Ron Harris was one of the few generally normal characters who populated a New York City police precinct filled with oddballs on both sides of the law. The ensemble cast included Hal Linden as precinct Capt. Barney Miller, Max Gail as Detective Stan ‘Wojo’ Wojciehowicz, and Abe Vidgoda as Detective Phil Fish.\u003c/p>\n\u003cp>The show aired from 1975 until 1982, winning two Golden Globes and two Emmy Awards for best comedy series. Glass was nominated for a supporting actor Emmy in 1982.\u003c/p>\n\u003cp>Raised in Evansville, Indiana, Glass received a Bachelor of Arts degree in drama and literature from the University of Evansville.\u003c/p>\n\u003cp>After graduation he moved to Minneapolis where he worked in regional theater before coming to Los Angeles to launch his TV and film career.\u003c/p>\n\u003cp>He was also a member of the board of directors for Los Angeles’ AL Wooten Jr. Heritage Center, an organization named for a man murdered in a gang-initiation drive-by shooting and dedicated to helping inner-city youth stay safe and receive an education.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Information on funeral services and survivors was not immediately available. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ron+Glass%2C+Emmy-Nominated+Actor+Best+Known+For+%27Barney+Miller%2C%27+Has+Died+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even in its earliest years, the toddling American film industry quickly discovered that while the public was fascinated by moving-picture stories, it was positively mad for stars. The funeral of 31-year-old Rudolph Valentino on a memorable August day in 1926 drew 100,000 mourners (many of them hysterical) onto the steamy streets of Manhattan. Rudy isn’t on the marquee of the annual \u003ca href=\"http://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c28d70a4-79b4-4389-a804-d388e1c77072&\" target=\"_blank\" rel=\"noopener\">A Day of Silents\u003c/a> marathon this Saturday, Dec. 3, at the Castro, but the San Francisco Silent Film Festival has summoned a litany of immortal names from the heavenly firmament.\u003c/p>\n\u003cfigure id=\"attachment_12382399\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/silents1200.jpg\" alt=\"Lilyan Tashman in Ernst Lubitsch's 'So This is Paris,' 1926.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12382399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lilyan Tashman in Ernst Lubitsch’s ‘So This is Paris,’ 1926. \u003ccite>(Courtesy SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charlie Chaplin hot-wires the program with three kid- and adult-friendly shorts from 1915, then makes way for the adult shenanigans of Ernst Lubitsch’s playfully adulterous and exuberant 1926 romp \u003cem>So This Is Paris\u003c/em> (whose cast, I must concede, is not engraved in the book of household names). Then we’re off to radical Russia and Sergei Eisenstein’s legendary pro-labor paean \u003cem>Strike\u003c/em>, followed by the landmark German drama \u003cem>Different From the Others\u003c/em>. Written by Dr. Magnus Hirschfeld and starring Conrad Veidt, the film dared to tell a sympathetic story of (unlawful) gay attraction in 1919. \u003c/p>\n\u003cp>The prime-time slot goes to \u003cem>The Last Command\u003c/em>, a comparatively unknown title in the great Josef von Sternberg’s filmography that boasts the great Emil Jannings and William Powell squaring off on a Hollywood set to the careening accompaniment of the superlative Alloy Orchestra. The day wraps with the glorious Gloria Swanson as the titular \u003cem>Sadie Thompson\u003c/em>, a San Francisco working girl adrift on Pago Pago with Lionel Barrymore and Raoul Walsh — whose acting endeavors ceased after he lost an eye in a car accident following this film, though it didn’t affect his extensive and remarkable directing career. The San Francisco Silent Film Festival evokes a time when the movies offered something for everyone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even in its earliest years, the toddling American film industry quickly discovered that while the public was fascinated by moving-picture stories, it was positively mad for stars. The funeral of 31-year-old Rudolph Valentino on a memorable August day in 1926 drew 100,000 mourners (many of them hysterical) onto the steamy streets of Manhattan. Rudy isn’t on the marquee of the annual \u003ca href=\"http://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c28d70a4-79b4-4389-a804-d388e1c77072&\" target=\"_blank\" rel=\"noopener\">A Day of Silents\u003c/a> marathon this Saturday, Dec. 3, at the Castro, but the San Francisco Silent Film Festival has summoned a litany of immortal names from the heavenly firmament.\u003c/p>\n\u003cfigure id=\"attachment_12382399\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/silents1200.jpg\" alt=\"Lilyan Tashman in Ernst Lubitsch's 'So This is Paris,' 1926.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12382399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/silents1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lilyan Tashman in Ernst Lubitsch’s ‘So This is Paris,’ 1926. \u003ccite>(Courtesy SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charlie Chaplin hot-wires the program with three kid- and adult-friendly shorts from 1915, then makes way for the adult shenanigans of Ernst Lubitsch’s playfully adulterous and exuberant 1926 romp \u003cem>So This Is Paris\u003c/em> (whose cast, I must concede, is not engraved in the book of household names). Then we’re off to radical Russia and Sergei Eisenstein’s legendary pro-labor paean \u003cem>Strike\u003c/em>, followed by the landmark German drama \u003cem>Different From the Others\u003c/em>. Written by Dr. Magnus Hirschfeld and starring Conrad Veidt, the film dared to tell a sympathetic story of (unlawful) gay attraction in 1919. \u003c/p>\n\u003cp>The prime-time slot goes to \u003cem>The Last Command\u003c/em>, a comparatively unknown title in the great Josef von Sternberg’s filmography that boasts the great Emil Jannings and William Powell squaring off on a Hollywood set to the careening accompaniment of the superlative Alloy Orchestra. The day wraps with the glorious Gloria Swanson as the titular \u003cem>Sadie Thompson\u003c/em>, a San Francisco working girl adrift on Pago Pago with Lionel Barrymore and Raoul Walsh — whose acting endeavors ceased after he lost an eye in a car accident following this film, though it didn’t affect his extensive and remarkable directing career. The San Francisco Silent Film Festival evokes a time when the movies offered something for everyone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Hidden Gems: The Lost City of Cecil B. DeMille",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272173719\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n",
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"title": "Hidden Gems: The Lost City of Cecil B. DeMille | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published in July 2016. It re-aired on Nov. 25, 2016 as part of The California Report Magazine's \"Hidden Gems\" series.\u003c/em>\u003c/p>\n\u003cp>1923 was the heyday for silent movies, and audiences were thrilled when \u003ca href=\"http://www.tcm.com/tcmdb/person/48461%7C28676/Cecil-B-De-Mille/\">Cecil B. DeMille\u003c/a>’s blockbuster, \u003ca href=\"http://www.imdb.com/title/tt0049833/\">\"The Ten Commandments,\"\u003c/a> was released. And though it was filmed nearly a century ago, its relics still capture people’s imaginations on the Central Coast.\u003c/p>\n\u003cfigure id=\"attachment_11006819\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11006819 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg\" alt=\"Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Credit: Diane Bock\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20047_IMG_6875-2-qut.jpg 1632w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Remains of Cecil B. DeMille’s legendary lost city are scattered across the Guadalupe-Nipomo dunes. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get there, drive west on Highway 166, past the bright green fields of broccoli and kale. Sand drifts across the road, and then suddenly, you’re surrounded by vast expanses of the shimmering \u003ca href=\"https://www.fws.gov/refuge/guadalupe-nipomo_dunes/\">Guadalupe-Nipomo Dunes\u003c/a>.\u003c/p>\n\u003cp>“Oh my gosh, I see it up there! That’s it!” exclaims beach walker Jill Effling. She points to rubble scattered at the top of the dunes. “That’s amazing!” She smiles. “That’s the lost city of Cecil B. DeMille.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/272173719&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/272173719'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Those chunks of wood and plaster that Effling points to are remnants of the once-epic set of \"The Ten Commandments.\" Best described as ancient Egypt meets art deco, giant sphinxes and massive statues of Ramses the Great stood guard over a hieroglyph-studded temple more than 10 stories tall.\u003c/p>\n\u003cfigure id=\"attachment_11006823\" class=\"wp-caption alignright\" style=\"max-width: 243px\">\u003cimg class=\" wp-image-11006823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg\" alt=\"1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures\" width=\"243\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut-400x598.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20045_Commandments-1923-qut.jpg 505w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">1923 Movie poster advertises DeMille’s 1923 silent epic that was filmed at the Guadalupe-Nipomo dunes. Credit: Paramount Pictures \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marjorie Lane-Mangogna is a docent at the Dunes Center, in the nearby city of \u003ca href=\"http://www.ci.guadalupe.ca.us/\">Guadalupe\u003c/a>. The center takes pride in preserving local cultural history while protecting the dunes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you lived in an ag town and suddenly a movie set came to town and you got to be part of it?” she says “Oh my gosh, you’d be in seventh heaven, you really would.”\u003c/p>\n\u003cp>Most of the town ended up on the studio’s payroll, wrangling horses and working as extras. Once filming wrapped, DeMille wanted to prevent rival studios from poaching his set. He ordered some parts demolished -- the rest was buried in the sand. It remained a secret, known only to locals, for 60 years.\u003c/p>\n\u003cp>In the early '80s, the site was rediscovered by film buffs, and later partially unearthed. Today you can see restored artifacts, like the head of the giant sphinx, at the Dunes Center.\u003c/p>\n\u003cfigure id=\"attachment_11006820\" class=\"wp-caption alignleft\" style=\"max-width: 312px\">\u003cimg class=\"wp-image-11006820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg\" alt=\"A sphinx artifact on display at The Dunes Center in Guadalupe. Credit: Diane Bock\" width=\"312\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20048_IMG_7037-2-qut-e1467398137211.jpg 1224w\" sizes=\"(max-width: 312px) 100vw, 312px\">\u003cfigcaption class=\"wp-caption-text\">A sphinx artifact on display at The Dunes Center in Guadalupe. Diane Bock/KQED \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center is located on Guadalupe’s main street, which is lined with turn-of-the-century buildings, not a chain store in sight. It hasn’t changed much since \"The Ten Commandments\" crew was in town.\u003c/p>\n\u003cp>“You see those chariots?” John Perry points to a photo still from the movie. It’s on display at his auto parts store, where vintage memorabilia shares shelf space with sparkplugs and fanbelts. “The old saying is they would come to town Friday, Saturday evening, and race up and down the street for beers,\" he laughs.\u003c/p>\n\u003cp>The Dunes Center's Lane-Mangogna explains the area’s appeal: “So many people come in and they say the dunes themselves are one of the spiritual vortexes, which I kind of laugh at, but I also think every time I go out there I feel pretty good.”\u003c/p>\n\u003cp>She pauses for a moment. “And I think Guadalupe has a sense of that, too, because what we have here is kind of magical.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magical, because of a unique combination of natural beauty and Hollywood history, in a place that time forgot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Disney's 'Moana' Needs No Prince, Just The Land And Sea",
"headTitle": "Disney’s ‘Moana’ Needs No Prince, Just The Land And Sea | KQED",
"content": "\u003cp>You would be forgiven for getting so lost in the world of \u003cem>Moana\u003c/em> that the story itself becomes merely a distant hum. Disney’s newest animated extravaganza takes as its inspiration the crystal blue waves and lush green island mountains of Polynesia, making the landscape into a 3-D storybook. The computer animation, so much crisper and more vibrant than the all-white X-Y planes of \u003cem>Frozen\u003c/em>, turns the film into a celebration of (bio)diversity. And not a moment too soon for a world that keeps needing to be reminded that this is all worth taking some effort to save.\u003c/p>\n\u003cp>Part of getting lost in \u003cem>Moana\u003c/em>‘s world is honestly appreciating the culture at its center, as the film may be Disney’s most committed effort yet to accurately depict the lifestyle of the setting its animators have parachuted into. The studio recruited Pacific Islander talent and researchers, which it deemed the “\u003ca href=\"http://www.vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia\">Oceanic Trust\u003c/a>,” to aid in its depiction of the region. So characters break into hula or war dances without needing to tell us what they’re doing, and their natural, non-stagey interactions let us feel comfortable among them. The film achieves what the best Disney animated features do: a sense of place that is refined and specific.\u003c/p>\n\u003cp>https://youtu.be/LKFuXETZUsI\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> die-hards likely know Lin-Manuel Miranda co-wrote the original songs for the film with composer Mark Mancina, but the collaborator of arguably more importance is Opetaia Foa’i, the Samoa-born frontman to Oceanic fusion band Te Vaka. Foa’i’s influence is the one felt harder on the resulting sound, which mixes ecstatic marching bass drums with the swooning melodies of tribal chants. When he trades vocals with Miranda to sing about exploring far-reaching territories on the rousing “We Know the Way,” it’s enough to make all budding wayfarers, young and old, grab a telescope and set sail.\u003c/p>\n\u003cp>Luckily, we have a surrogate to do all that adventuring for us, in the spunky preteen Moana (newcomer Auli’i Cravalho), the heir to her father’s chiefdom on the fictional Te Fiti, a remote, isolationist South Pacific island. (She resents the title “princess,” although one hopes she never stumbles across her own face in the Disney Princess marketing materials.) Moana dreams of setting sail for parts unknown, but dad (Temuera Morrison when speaking, and Miranda’s fellow \u003cem>Hamilton\u003c/em> hero Christopher Jackson when singing) keeps dragging her back to parts known, reminding her of her duties to watch over the island tribe and ensure its future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the ocean calls: “The water is mischievous / I like how it misbehaves,” sings Moana’s feisty grandma (Rachel House), who, with that lovely line, pushes her granddaughter to venture beyond her island’s reef once the lackluster coconut harvest and fish depletion jeopardize the people’s way of life. In fact, the ocean is literally beckoning Moana, as it’s been anthropomorphized like the Disney sidekicks of yore, shooting jets of water for high-fives or to express annoyance.\u003c/p>\n\u003cp>But it’s hard to imbue a wave, no matter how mischievous, with as much personality as, say, Dopey. So we’re grateful once the film introduces a \u003cem>real\u003c/em> foil, the trickster demigod Maui (voiced with puffed-up chest by Dwayne “The Rock” Johnson, \u003cem>People\u003c/em> magazine’s current Sexiest Demigod Alive). A mythical figure in Polynesian mythology, the Maui in this film has the build of a football player and the braggadocio of … well, a football player. He’s a shapeshifter who stole a trinket from Te Fiti’s island god, thus dooming Moana’s people; the girl’s assignment is to drag the headstrong yet thin-skinned Maui back to right his wrong, tattoos and all (his body is covered in them, and they have minds of their own).\u003c/p>\n\u003cp>The story unfolds more or less in the same manner as Disney’s other lone-journey films, like \u003cem>The Lion King\u003c/em> and \u003cem>Hercules\u003c/em>, and the soundtrack provides an easy road map: the introduction song, the yearning song, the goofy-personality song. (We can only hope \u003cem>Moana\u003c/em>‘s numbers will peacefully fade onto Greatest Hits soundtracks before they turn on us like “Let It Go.”) Ron Clements and John Musker, whose previous features include \u003cem>The Little Mermaid\u003c/em> and \u003cem>The Princess and the Frog\u003c/em>, were the driving forces behind \u003cem>Moana\u003c/em>‘s vision. But they’re still two of four credited directors and two of eight credited writers, like the committee-driven nature of all in-house Mouse House productions. Often that approach works, as in the excellent \u003cem>Zootopia\u003c/em> earlier this year. But this story in particular seemed to demand a more idiosyncratic touch. Jemaine Clement as a giant crab who sings a Bowie-esque number about glitter is fun, but did it fit here?\u003c/p>\n\u003cp>Still, with all those names, the matter-of-fact way the film gets to treat its female protagonist is especially heartening. Her adversaries doubt her not because of her gender, but merely because of her youth; and she doesn’t have or need a love interest, a fact that may not even register with you until after the film has ended. Well, that’s not entirely true: Her love interest is the land and sea and its people, and anyone who sees \u003cem>Moana \u003c/em>will become smitten, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A note on the preshow: \u003c/strong>“Inner Workings” is a suspiciously \u003cem>Inside Out\u003c/em>-like short about an office drone’s warring body parts. An overly cautious brain, situated inside the man’s boxy head, prevents his impulsive heart from enjoying all of life’s wonders, until an epiphany forces it to rethink its priorities. The film can’t measure up to the visual or emotional wonder of Disney’s similarly themed 2012 short “Paperman,” but director Leonard Matsuda still finds fascinating things to do with the animation form, particularly in the way he plays with geometric character models.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You would be forgiven for getting so lost in the world of \u003cem>Moana\u003c/em> that the story itself becomes merely a distant hum. Disney’s newest animated extravaganza takes as its inspiration the crystal blue waves and lush green island mountains of Polynesia, making the landscape into a 3-D storybook. The computer animation, so much crisper and more vibrant than the all-white X-Y planes of \u003cem>Frozen\u003c/em>, turns the film into a celebration of (bio)diversity. And not a moment too soon for a world that keeps needing to be reminded that this is all worth taking some effort to save.\u003c/p>\n\u003cp>Part of getting lost in \u003cem>Moana\u003c/em>‘s world is honestly appreciating the culture at its center, as the film may be Disney’s most committed effort yet to accurately depict the lifestyle of the setting its animators have parachuted into. The studio recruited Pacific Islander talent and researchers, which it deemed the “\u003ca href=\"http://www.vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia\">Oceanic Trust\u003c/a>,” to aid in its depiction of the region. So characters break into hula or war dances without needing to tell us what they’re doing, and their natural, non-stagey interactions let us feel comfortable among them. The film achieves what the best Disney animated features do: a sense of place that is refined and specific.\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/LKFuXETZUsI'\n title='//www.youtube.com/embed/LKFuXETZUsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Hamilton\u003c/em> die-hards likely know Lin-Manuel Miranda co-wrote the original songs for the film with composer Mark Mancina, but the collaborator of arguably more importance is Opetaia Foa’i, the Samoa-born frontman to Oceanic fusion band Te Vaka. Foa’i’s influence is the one felt harder on the resulting sound, which mixes ecstatic marching bass drums with the swooning melodies of tribal chants. When he trades vocals with Miranda to sing about exploring far-reaching territories on the rousing “We Know the Way,” it’s enough to make all budding wayfarers, young and old, grab a telescope and set sail.\u003c/p>\n\u003cp>Luckily, we have a surrogate to do all that adventuring for us, in the spunky preteen Moana (newcomer Auli’i Cravalho), the heir to her father’s chiefdom on the fictional Te Fiti, a remote, isolationist South Pacific island. (She resents the title “princess,” although one hopes she never stumbles across her own face in the Disney Princess marketing materials.) Moana dreams of setting sail for parts unknown, but dad (Temuera Morrison when speaking, and Miranda’s fellow \u003cem>Hamilton\u003c/em> hero Christopher Jackson when singing) keeps dragging her back to parts known, reminding her of her duties to watch over the island tribe and ensure its future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, the ocean calls: “The water is mischievous / I like how it misbehaves,” sings Moana’s feisty grandma (Rachel House), who, with that lovely line, pushes her granddaughter to venture beyond her island’s reef once the lackluster coconut harvest and fish depletion jeopardize the people’s way of life. In fact, the ocean is literally beckoning Moana, as it’s been anthropomorphized like the Disney sidekicks of yore, shooting jets of water for high-fives or to express annoyance.\u003c/p>\n\u003cp>But it’s hard to imbue a wave, no matter how mischievous, with as much personality as, say, Dopey. So we’re grateful once the film introduces a \u003cem>real\u003c/em> foil, the trickster demigod Maui (voiced with puffed-up chest by Dwayne “The Rock” Johnson, \u003cem>People\u003c/em> magazine’s current Sexiest Demigod Alive). A mythical figure in Polynesian mythology, the Maui in this film has the build of a football player and the braggadocio of … well, a football player. He’s a shapeshifter who stole a trinket from Te Fiti’s island god, thus dooming Moana’s people; the girl’s assignment is to drag the headstrong yet thin-skinned Maui back to right his wrong, tattoos and all (his body is covered in them, and they have minds of their own).\u003c/p>\n\u003cp>The story unfolds more or less in the same manner as Disney’s other lone-journey films, like \u003cem>The Lion King\u003c/em> and \u003cem>Hercules\u003c/em>, and the soundtrack provides an easy road map: the introduction song, the yearning song, the goofy-personality song. (We can only hope \u003cem>Moana\u003c/em>‘s numbers will peacefully fade onto Greatest Hits soundtracks before they turn on us like “Let It Go.”) Ron Clements and John Musker, whose previous features include \u003cem>The Little Mermaid\u003c/em> and \u003cem>The Princess and the Frog\u003c/em>, were the driving forces behind \u003cem>Moana\u003c/em>‘s vision. But they’re still two of four credited directors and two of eight credited writers, like the committee-driven nature of all in-house Mouse House productions. Often that approach works, as in the excellent \u003cem>Zootopia\u003c/em> earlier this year. But this story in particular seemed to demand a more idiosyncratic touch. Jemaine Clement as a giant crab who sings a Bowie-esque number about glitter is fun, but did it fit here?\u003c/p>\n\u003cp>Still, with all those names, the matter-of-fact way the film gets to treat its female protagonist is especially heartening. Her adversaries doubt her not because of her gender, but merely because of her youth; and she doesn’t have or need a love interest, a fact that may not even register with you until after the film has ended. Well, that’s not entirely true: Her love interest is the land and sea and its people, and anyone who sees \u003cem>Moana \u003c/em>will become smitten, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A note on the preshow: \u003c/strong>“Inner Workings” is a suspiciously \u003cem>Inside Out\u003c/em>-like short about an office drone’s warring body parts. An overly cautious brain, situated inside the man’s boxy head, prevents his impulsive heart from enjoying all of life’s wonders, until an epiphany forces it to rethink its priorities. The film can’t measure up to the visual or emotional wonder of Disney’s similarly themed 2012 short “Paperman,” but director Leonard Matsuda still finds fascinating things to do with the animation form, particularly in the way he plays with geometric character models.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Come Thursday, when you’re listing all the things you’re grateful for in these suddenly perilous times, do not forgot the artists. Perennially the first line of resistance to Orwellian doublespeak, passive-media groupthink and authoritarian clampdown, they will be particularly necessary — and vulnerable — in the coming months. The avant-garde filmmakers and musicians \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion-program-six-birth-death-resurrection/\" target=\"_blank\" rel=\"noopener\">performing Tuesday, Nov. 22\u003c/a> in the sixth (!) program in San Francisco Cinematheque’s ongoing \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a> series at Gray Area in the Mission District may not be overtly political, but their work is designed to arouse, awaken and disrupt. Their timing is spot-on.\u003c/p>\n\u003cfigure id=\"attachment_12377084\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2_page_image.jpg\" alt=\"Hangjun Lee, 'Film Walk'\" width=\"899\" height=\"600\" class=\"size-full wp-image-12377084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-520x347.jpg 520w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">Hangjun Lee, ‘Film Walk’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series is an intensive immersion in live cinema, a.k.a. performance cinema, whose practitioners, like Oakland-based collaborators Malic Amalya and Nathan Hill, create (and sometimes destroy) their material on the spot, in front of the audience. The element of unpredictability, as with any live show, engenders a whiff of electricity and, possibly, danger. Amalya and Hill’s provocatively titled \u003ci>Toward the Death of Cinema\u003c/i> combines a 16mm projector and a synthesizer to evoke the “natural” cycle of decay, destruction and renewal. \u003c/p>\n\u003cp>Even more spontaneous, perhaps, is South Korean filmmaker Hangjun Lee, making his first West Coast appearance with the multi-projector work “Film Walk,” accompanied by the renowned French electronic musician Jerome Noetinger. \u003c/p>\n\u003cfigure id=\"attachment_12377086\" class=\"wp-caption aligncenter\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/home.jpg\" alt=\"Portrait of Sally Golding\" width=\"460\" height=\"320\" class=\"size-full wp-image-12377086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home-375x261.jpg 375w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Sally Golding \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From Australia (by way of the UK) comes Sally Golding, whose sound-and-image constructions actively and explicitly involve the audience. The program is called \u003ci>\u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion-program-six-birth-death-resurrection/\" target=\"_blank\" rel=\"noopener\">Birth / Death / Resurrection\u003c/a>\u003c/i>, which, if you think about it, is implicit in the celebration of every holiday. Happy Thanksgiving.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Come Thursday, when you’re listing all the things you’re grateful for in these suddenly perilous times, do not forgot the artists. Perennially the first line of resistance to Orwellian doublespeak, passive-media groupthink and authoritarian clampdown, they will be particularly necessary — and vulnerable — in the coming months. The avant-garde filmmakers and musicians \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion-program-six-birth-death-resurrection/\" target=\"_blank\" rel=\"noopener\">performing Tuesday, Nov. 22\u003c/a> in the sixth (!) program in San Francisco Cinematheque’s ongoing \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a> series at Gray Area in the Mission District may not be overtly political, but their work is designed to arouse, awaken and disrupt. Their timing is spot-on.\u003c/p>\n\u003cfigure id=\"attachment_12377084\" class=\"wp-caption aligncenter\" style=\"max-width: 899px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2_page_image.jpg\" alt=\"Hangjun Lee, 'Film Walk'\" width=\"899\" height=\"600\" class=\"size-full wp-image-12377084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2_page_image-520x347.jpg 520w\" sizes=\"(max-width: 899px) 100vw, 899px\">\u003cfigcaption class=\"wp-caption-text\">Hangjun Lee, ‘Film Walk’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series is an intensive immersion in live cinema, a.k.a. performance cinema, whose practitioners, like Oakland-based collaborators Malic Amalya and Nathan Hill, create (and sometimes destroy) their material on the spot, in front of the audience. The element of unpredictability, as with any live show, engenders a whiff of electricity and, possibly, danger. Amalya and Hill’s provocatively titled \u003ci>Toward the Death of Cinema\u003c/i> combines a 16mm projector and a synthesizer to evoke the “natural” cycle of decay, destruction and renewal. \u003c/p>\n\u003cp>Even more spontaneous, perhaps, is South Korean filmmaker Hangjun Lee, making his first West Coast appearance with the multi-projector work “Film Walk,” accompanied by the renowned French electronic musician Jerome Noetinger. \u003c/p>\n\u003cfigure id=\"attachment_12377086\" class=\"wp-caption aligncenter\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/home.jpg\" alt=\"Portrait of Sally Golding\" width=\"460\" height=\"320\" class=\"size-full wp-image-12377086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/home-375x261.jpg 375w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Sally Golding \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From Australia (by way of the UK) comes Sally Golding, whose sound-and-image constructions actively and explicitly involve the audience. The program is called \u003ci>\u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion-program-six-birth-death-resurrection/\" target=\"_blank\" rel=\"noopener\">Birth / Death / Resurrection\u003c/a>\u003c/i>, which, if you think about it, is implicit in the celebration of every holiday. Happy Thanksgiving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cblockquote>\n\u003cp>\u003cem>\u003cstrong>Only if we show diversity as both positive and normal, will we actually evoke change.\u003c/strong>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>After graduating from NYU, \u003cem>\u003cstrong>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/late-spring/\" rel=\"noopener\">Late Spring\u003c/a> \u003c/strong>\u003c/em>director \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/zachary-kerschberg/\" rel=\"noopener\">Zachary Kerschberg\u003c/a> traveled to Berlin, where he was inspired to make \u003cem>Crises – A Berlin Trilogy\u003c/em>. The in-progress trio of films will blend multiple genres and filmmaking \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" title=\"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\n\u003cp>\u003cem>\u003cstrong>Only if we show diversity as both positive and normal, will we actually evoke change.\u003c/strong>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>After graduating from NYU, \u003cem>\u003cstrong>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/late-spring/\" rel=\"noopener\">Late Spring\u003c/a> \u003c/strong>\u003c/em>director \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/zachary-kerschberg/\" rel=\"noopener\">Zachary Kerschberg\u003c/a> traveled to Berlin, where he was inspired to make \u003cem>Crises – A Berlin Trilogy\u003c/em>. The in-progress trio of films will blend multiple genres and filmmaking \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" title=\"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Paul Verhoeven's 'Elle' is a Brutal, Elegant, Pitch-Black Comedy",
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"content": "\u003cp>At the fancy Christmas dinner she hosts in her posh Paris home, a stylish entrepreneur named Michèle, played to impassive perfection by Isabelle Huppert, verbally abuses her heavily Botoxed elderly mother and her mother’s very-much-younger consort. She inflicts injury on the very-much-younger girlfriend of her former husband. She pokes fun at her ineffectual son, his partner, and their baby. She takes a covert swipe at her pretty Christian neighbor while initiating a game of footsie with that neighbor’s handsome husband, a broker. By way of dessert she indulges, without noticeable pleasure, in some furtive post-prandial sex with her best friend and partner’s husband. ‘Tis the season!\u003c/p>\n\u003cp>I should add that by the time this jolly crew has convened halfway through Paul Verhoeven’s sardonic thriller \u003cem>Elle\u003c/em>, Michèle has been violently raped several times on her living-room floor by a masked intruder clad head-to-toe in black leather or rubber or some other appealing fabric from the sado-masochist runway. The graphically detailed sexual assaults function as little more than a hiccup in Michèle’s busy life as the CEO of a raunchy videogame company that appears to be staffed by callow twelve-year-olds. Oh, and one of these young blades has circulated a creatively pornographic video of Michèle being violated by a monster. I wouldn’t say she doesn’t turn a hair, but Michèle goes about her business while wreaking malicious damage on those who get in her way, and on plenty who don’t.\u003c/p>\n\u003cp>https://youtu.be/gM96ne-XiH0\u003c/p>\n\u003cp>If you saw Huppert in Michael Haneke’s 2001 erotic thriller \u003cem>The Piano Teache\u003c/em>r, you’ll know that she can serve up steely and kinky pretty much on demand. Behind her sustained deadpan in \u003cem>Elle\u003c/em> and the misleading shades of beige in which she’s clad lurks a barely contained ironist and black comedian channeling, with quiet glee, the bracing nihilism of the man who made \u003cem>Robocop\u003c/em>, \u003cem>Basic Instinct\u003c/em> and \u003cem>Showgirls\u003c/em>. Never was such flat affect delivered through such expressive eyes.\u003c/p>\n\u003cp>How you feel about this brutal, elegantly crafted film will depend in part on whether you regard nihilism as a moral/political philosophy or as a film language that gets us to rethink the tired pieties that appeal to our vanity. A provocateur to his core, Verhoeven wades breezily into hot-potato territory, all the while refusing moral judgment. This hasn’t always worked: In \u003cem>Black Book\u003c/em> (2006) he comes \u003cem>this\u003c/em> close to suggesting that, ethically speaking, there was little room between the Nazis and the Dutch resistance. \u003cem>Elle\u003c/em> is a far less blunt instrument, in part because the movie is cunningly ambiguous about what drives the strange woman at its center. The English-language screenplay for \u003cem>Elle\u003c/em>, which Verhoeven had hoped to make in the United States, is adapted by David Birke from a French novel written under the influence of the mass murders committed by Norwegian Anders Behring Breivik. Faux news footage shows Michèle at age ten, staring blankly into the camera at the scene when her now incarcerated father murdered a slew of neighbors who had asked him not to make the sign of the cross on their children’s foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12349839\" class=\"wp-caption aligncenter\" style=\"max-width: 1269px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2crop.jpg\" alt=\"Still from 'Elle.'\" width=\"1269\" height=\"842\" class=\"size-full wp-image-12349839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-520x345.jpg 520w\" sizes=\"(max-width: 1269px) 100vw, 1269px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Elle.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she’s a successful, ruthless businesswoman who presides over a ludicrously dysfunctional ensemble of family, friends and employees whose loyalty to her is about as dependable as hers to them. Which at the very least brings enjoyably double-edged performances by Charles Berling as Michèle’s hapless husband, Anne Consigny as her best friend and business partner, Judith Magre as her mother, and Laurent Lafitte as her intriguing, handsome neighbor. There’s not a soul in \u003cem>Elle\u003c/em> who’s above cheating and lying as needed, unless you count the lone committed Christian (Virginie Efira). And even she, it turns out, knows more than her blue saucer eyes let on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However brutal Michèle’s past, Verhoeven won’t allow us to jump to causal conclusions about her asocial behavior or the cat-and-mouse game she plays with her attacker. If you’re looking for it, there’s ample fodder in Michèle’s venal milieu for social commentary about the nasty post-millennial world we’ve created for ourselves. Humanity doesn’t much impress Verhoeven, but though I could wish he didn’t enjoy shoving the multiple rapes in our faces so much, he’s not endorsing rape and I don’t believe he’s anti-feminist. After all, Michèle’s in charge, even if the director won’t tip his hand about whether she’s a plucky survivor, a complete psycho, or just a woman so blitzed by her childhood that she responds to almost every turn of the screw, her rape included, with the same unruffled calm. Only the sick games she plays with her aggressor seem to get her worked up. “Why did you do it?” she asks him when, fittingly, they end up duking it out in the basement of her house. “It was necessary,” he answers. Over to you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the fancy Christmas dinner she hosts in her posh Paris home, a stylish entrepreneur named Michèle, played to impassive perfection by Isabelle Huppert, verbally abuses her heavily Botoxed elderly mother and her mother’s very-much-younger consort. She inflicts injury on the very-much-younger girlfriend of her former husband. She pokes fun at her ineffectual son, his partner, and their baby. She takes a covert swipe at her pretty Christian neighbor while initiating a game of footsie with that neighbor’s handsome husband, a broker. By way of dessert she indulges, without noticeable pleasure, in some furtive post-prandial sex with her best friend and partner’s husband. ‘Tis the season!\u003c/p>\n\u003cp>I should add that by the time this jolly crew has convened halfway through Paul Verhoeven’s sardonic thriller \u003cem>Elle\u003c/em>, Michèle has been violently raped several times on her living-room floor by a masked intruder clad head-to-toe in black leather or rubber or some other appealing fabric from the sado-masochist runway. The graphically detailed sexual assaults function as little more than a hiccup in Michèle’s busy life as the CEO of a raunchy videogame company that appears to be staffed by callow twelve-year-olds. Oh, and one of these young blades has circulated a creatively pornographic video of Michèle being violated by a monster. I wouldn’t say she doesn’t turn a hair, but Michèle goes about her business while wreaking malicious damage on those who get in her way, and on plenty who don’t.\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/gM96ne-XiH0'\n title='//www.youtube.com/embed/gM96ne-XiH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you saw Huppert in Michael Haneke’s 2001 erotic thriller \u003cem>The Piano Teache\u003c/em>r, you’ll know that she can serve up steely and kinky pretty much on demand. Behind her sustained deadpan in \u003cem>Elle\u003c/em> and the misleading shades of beige in which she’s clad lurks a barely contained ironist and black comedian channeling, with quiet glee, the bracing nihilism of the man who made \u003cem>Robocop\u003c/em>, \u003cem>Basic Instinct\u003c/em> and \u003cem>Showgirls\u003c/em>. Never was such flat affect delivered through such expressive eyes.\u003c/p>\n\u003cp>How you feel about this brutal, elegantly crafted film will depend in part on whether you regard nihilism as a moral/political philosophy or as a film language that gets us to rethink the tired pieties that appeal to our vanity. A provocateur to his core, Verhoeven wades breezily into hot-potato territory, all the while refusing moral judgment. This hasn’t always worked: In \u003cem>Black Book\u003c/em> (2006) he comes \u003cem>this\u003c/em> close to suggesting that, ethically speaking, there was little room between the Nazis and the Dutch resistance. \u003cem>Elle\u003c/em> is a far less blunt instrument, in part because the movie is cunningly ambiguous about what drives the strange woman at its center. The English-language screenplay for \u003cem>Elle\u003c/em>, which Verhoeven had hoped to make in the United States, is adapted by David Birke from a French novel written under the influence of the mass murders committed by Norwegian Anders Behring Breivik. Faux news footage shows Michèle at age ten, staring blankly into the camera at the scene when her now incarcerated father murdered a slew of neighbors who had asked him not to make the sign of the cross on their children’s foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12349839\" class=\"wp-caption aligncenter\" style=\"max-width: 1269px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2crop.jpg\" alt=\"Still from 'Elle.'\" width=\"1269\" height=\"842\" class=\"size-full wp-image-12349839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-520x345.jpg 520w\" sizes=\"(max-width: 1269px) 100vw, 1269px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Elle.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she’s a successful, ruthless businesswoman who presides over a ludicrously dysfunctional ensemble of family, friends and employees whose loyalty to her is about as dependable as hers to them. Which at the very least brings enjoyably double-edged performances by Charles Berling as Michèle’s hapless husband, Anne Consigny as her best friend and business partner, Judith Magre as her mother, and Laurent Lafitte as her intriguing, handsome neighbor. There’s not a soul in \u003cem>Elle\u003c/em> who’s above cheating and lying as needed, unless you count the lone committed Christian (Virginie Efira). And even she, it turns out, knows more than her blue saucer eyes let on.\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>However brutal Michèle’s past, Verhoeven won’t allow us to jump to causal conclusions about her asocial behavior or the cat-and-mouse game she plays with her attacker. If you’re looking for it, there’s ample fodder in Michèle’s venal milieu for social commentary about the nasty post-millennial world we’ve created for ourselves. Humanity doesn’t much impress Verhoeven, but though I could wish he didn’t enjoy shoving the multiple rapes in our faces so much, he’s not endorsing rape and I don’t believe he’s anti-feminist. After all, Michèle’s in charge, even if the director won’t tip his hand about whether she’s a plucky survivor, a complete psycho, or just a woman so blitzed by her childhood that she responds to almost every turn of the screw, her rape included, with the same unruffled calm. Only the sick games she plays with her aggressor seem to get her worked up. “Why did you do it?” she asks him when, fittingly, they end up duking it out in the basement of her house. “It was necessary,” he answers. Over to you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Best, Worst and Weirdest Fake Celebrity Accents",
"title": "The Best, Worst and Weirdest Fake Celebrity Accents",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>We’re paying homage to Lindsay Lohan’s new accent, processing our feelings about Lil Wayne's anti-Black Lives Matter rant, and discussing why we should care more about asses.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/11/Accents.mp3\" title=\"The Best, Worst and Weirdest Fake Celebrity Accents\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We kick things off by honoring Lindsay Lohan's new accent by listening to various celebrities talk like they're not actually from America:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/kelly-3.gif\">\u003cimg class=\"aligncenter size-medium wp-image-47854\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/kelly-3.gif\" alt=\"kelly-3\" width=\"245\" height=\"203\">\u003c/a>\u003c/p>\n\u003cp>We work through our feelings about Lil Wayne calling the Black Lives Matter movement \"dumb sh*t\":\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/giphy-10.gif\">\u003cimg class=\"aligncenter size-full wp-image-47855\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/giphy-10.gif\" alt=\"giphy-10\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>We send out a plea to our listeners to care more about asses:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/donkey_shaking_booty_hg_clr.gif\">\u003cimg class=\"aligncenter size-medium wp-image-47853\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/donkey_shaking_booty_hg_clr.gif\" alt=\"donkey_shaking_booty_hg_clr\" width=\"235\" height=\"320\">\u003c/a>And we cap things off with The Stranglers' \"Who Wants the World\":\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wB1Y5N0Ifg8\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re paying homage to Lindsay Lohan’s new accent, processing our feelings about Lil Wayne's anti-Black Lives Matter rant, and discussing why we should care more about asses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We kick things off by honoring Lindsay Lohan's new accent by listening to various celebrities talk like they're not actually from America:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/kelly-3.gif\">\u003cimg class=\"aligncenter size-medium wp-image-47854\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/kelly-3.gif\" alt=\"kelly-3\" width=\"245\" height=\"203\">\u003c/a>\u003c/p>\n\u003cp>We work through our feelings about Lil Wayne calling the Black Lives Matter movement \"dumb sh*t\":\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/giphy-10.gif\">\u003cimg class=\"aligncenter size-full wp-image-47855\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/giphy-10.gif\" alt=\"giphy-10\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>We send out a plea to our listeners to care more about asses:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/donkey_shaking_booty_hg_clr.gif\">\u003cimg class=\"aligncenter size-medium wp-image-47853\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/donkey_shaking_booty_hg_clr.gif\" alt=\"donkey_shaking_booty_hg_clr\" width=\"235\" height=\"320\">\u003c/a>And we cap things off with The Stranglers' \"Who Wants the World\":\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/wB1Y5N0Ifg8'\n title='//www.youtube.com/embed/wB1Y5N0Ifg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrate National Fast Food Day with ‘Foodfellas’",
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"content": "\u003cp>Nov. 16 is officially National Fast Food Day in the United States. You could celebrate with a super-size Big Mac value meal, or you can watch our latest \u003cem>Film School Shorts \u003c/em>release, \u003cem>Foodfellas\u003c/em>.\u003c/p>\n\u003cp>Set in the fast-paced fast food industry, \u003cem>Foodfellas \u003c/em>is a spoof of Martin Scorsese’s classic mob flick \u003cem>Goodfellas\u003c/em>. \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/16/celebrate-national-fast-food-day-with-foodfellas/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/16/celebrate-national-fast-food-day-with-foodfellas/\" target=\"_blank\" title=\"Celebrate National Fast Food Day with ‘Foodfellas’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "It's officially National Fast Food Day in the United States. You could celebrate with a super-size Big Mac value meal, or you can watch our latest Film School Shorts release, 'Foodfellas.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nov. 16 is officially National Fast Food Day in the United States. You could celebrate with a super-size Big Mac value meal, or you can watch our latest \u003cem>Film School Shorts \u003c/em>release, \u003cem>Foodfellas\u003c/em>.\u003c/p>\n\u003cp>Set in the fast-paced fast food industry, \u003cem>Foodfellas \u003c/em>is a spoof of Martin Scorsese’s classic mob flick \u003cem>Goodfellas\u003c/em>. \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/16/celebrate-national-fast-food-day-with-foodfellas/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/16/celebrate-national-fast-food-day-with-foodfellas/\" target=\"_blank\" title=\"Celebrate National Fast Food Day with ‘Foodfellas’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Retracing the Steps of Psychedelic Outlaws on an LSD Mission From God",
"headTitle": "Retracing the Steps of Psychedelic Outlaws on an LSD Mission From God | KQED",
"content": "\u003cp>It sounds like the plot to a Paul Thomas Anderson movie: a cult of Southern California surfers worships LSD as a deity in the early ’60s, becoming so obsessed with spreading psychedelics to the masses that they move their families in together and form a church.\u003c/p>\n\u003cp>Church members engineer an international smuggling ring to bring hash, pot, and acid back from sources in Europe and Afghanistan. They trick out their vans and surfboards with secret compartments to hide the contraband from border agents. They launder their money through an art gallery in Laguna Beach, build an LSD lab in Palm Springs, and are ultimately responsible for distributing over 100 million hits of acid.\u003c/p>\n\u003cp>What’s being described here is no fiction. It’s the very real — and very colorful — story of The Brotherhood of Eternal Love, the subject of \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Orange Sunshine\u003c/em>\u003c/a>, an excellent new documentary by director William A. Kirkley. The movie, which was a breakout hit at SXSW this year, gets its \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">theatrical premiere in San Francisco on Nov. 17 at Slim’s\u003c/a>. The event includes a performance by \u003ca href=\"http://mattcosta.com/\" target=\"_blank\" rel=\"noopener\">Matt Costa\u003c/a>, who wrote the film’s wonderfully lysergic soundtrack.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j-zvY7I0BY0\u003c/p>\n\u003cp>At their core, the Brotherhood weren’t terribly different from other seekers of their era. They responded to the violence and chaos of the Vietnam War abroad and turbulent race relations at home by following psychedelic guru Timothy Leary’s advice to “turn on, tune in, and drop out.” They yearned for the higher planes of connection proselytized by the musicians, artists, and academics around them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The difference, however, was the fervor behind the Brotherhood’s beliefs. Theirs was a single-minded intensity that put their safety and that of their families second to a larger mission of ensuring everyone, countrywide, had access to affordable psychedelics.\u003c/p>\n\u003cfigure id=\"attachment_12323274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12323274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg\" alt=\"Mike and Carol Randall, members of the Brotherhood\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1920x1290.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike and Carol Randall, members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, they made fake passports for themselves and fake school transcripts for their kids. They smuggled drugs from countries where punishment for such infractions was death. They moved from their Laguna Beach hub into hidden canyons to evade the law. They even engineered a jailbreak for Leary after he was incarcerated in San Luis Obispo for minor drug possession.\u003c/p>\n\u003cp>The influence of this resourceful “Hippie Mafia” grew so strong that the acid they widely distributed (including the ubiquitous Orange Sunshine strain, from which the documentary takes its title) ended up in the hands of Steve Jobs and the Beatles.\u003c/p>\n\u003cp>Just when you think you’ve heard all the crazy cult stories the ’60s had to offer,\u003cem> Orange Sunshine\u003c/em> tells a thrilling tale with international intrigue. Kirkley, who grew up in Laguna Beach, \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">writes in a director’s statement\u003c/a> that he was inspired to make the film after hearing rumors of these psychedelic outlaws for years. He wanted to confirm both their existence and Orange County’s roots as the site of a massive counter-cultural revolution, given the region’s conservative reputation today. But it took years for these former fugitives to agree to show their faces on camera, which is perhaps why this story hasn’t been widely told outside of the\u003ca href=\"https://www.amazon.com/dp/B004RCNVMG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\"> 2011 book \u003cem>Orange Sunshine\u003c/em>\u003c/a> by Nick Schou (who also wrote articles about the group for \u003cem>OC Weekly\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12344886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg\" alt=\"Wendy Bevan, a Brotherhood member, in the '70s.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg 1404w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Bevan, a Brotherhood member, in the ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>Kirkley shapes \u003cem>Orange Sunshine\u003c/em>’s narrative through interviews with the surviving members of the Brotherhood — and the law enforcement officials who pursued them — as well as archival photos and newsreel footage. He also uses beautifully-shot reenactments that maintain the amber glow of the older material. Scripted scenes of Brotherhood members in their teens and twenties almost look like home movies, thanks to Kirkley’s decision to shoot them on Super 8 film.\u003c/p>\n\u003cp>Unlike \u003cem>The Source Family\u003c/em>, another excellent documentary about the rise of a stoned spiritual cult from the ’60s, \u003cem>Orange Sunshine\u003c/em> doesn’t explore how the actions of the Brotherhood founders trickled down into the lives of their children, which is an unfortunate and conspicuous omission. Being raised around so much acid and operating under so many different aliases must have had an effect on the kids shown running around in old photos.\u003c/p>\n\u003cfigure id=\"attachment_12344887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344887\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg\" alt=\"John and Carol Griggs, some of the founders of the Brotherhood\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1920x2605.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John and Carol Griggs, founding members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>No, the losses described in the documentary are mainly between the adults, whose love for one another is evident even all these decades later. Kirkley writes that the movie is fundamentally about “how we discover and define what is important; of social change in its infancy; of the choices people make, losses suffered and love forged.”\u003c/p>\n\u003cp>Costa’s music provides another narrative thread. Like the cinematography, it gives the story a golden ’60s patina. In an email from Argentina, where he’s working on a new record, the Huntington Beach songwriter tells me that before working on the film, he’d only heard of the Brotherhood from \u003cem>OC Weekly\u003c/em> articles.\u003c/p>\n\u003cp>When Kirkley asked Costa to contribute some songs to the documentary, though, the music poured out of him. “Three songs turned into 40,” Costa says. The soundtrack swings between jazzier tunes influenced by Art Blakey and jangly rock ‘n’ roll in the realm of psych-folksters Rodriguez and Allah-Las.\u003c/p>\n\u003cp>https://vimeo.com/188202735\u003c/p>\n\u003cp>Costa grew up skateboarding more than surfing, but says he sees the connection between psychoactive drugs, surfing, and art as “just shredding the BS.”\u003c/p>\n\u003cp>“If you seek something righteous, whether you seclude yourself in a monastery or you take LSD and go surfing,” he says, “the goal is enlightenment rather than escapism.”\u003c/p>\n\u003cp>In the end, the Brotherhood’s path comes off in \u003cem>Orange Sunshine\u003c/em> as equal parts societal withdrawal and search for enlightenment. In attempting to escape the harsh realities of their era — as well as international drug laws — these radical hippies lived in an alternate universe of their own making. Theirs is a vivid world that was just made to be projected on the big screen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003c/p>\n\u003cp>\u003cem>A screening of ‘Orange Sunshine’ with a performance by Matt Costa takes place on Thursday, Nov. 17, at Slim’s. \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A buzzy new documentary swirls together Southern California music and surf culture, the story of a fascinating cult -- oh, and whole lot of psychedelics. ",
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"description": "A buzzy new documentary swirls together Southern California music and surf culture, the story of a fascinating cult -- oh, and whole lot of psychedelics. ",
"title": "Retracing the Steps of Psychedelic Outlaws on an LSD Mission From God | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It sounds like the plot to a Paul Thomas Anderson movie: a cult of Southern California surfers worships LSD as a deity in the early ’60s, becoming so obsessed with spreading psychedelics to the masses that they move their families in together and form a church.\u003c/p>\n\u003cp>Church members engineer an international smuggling ring to bring hash, pot, and acid back from sources in Europe and Afghanistan. They trick out their vans and surfboards with secret compartments to hide the contraband from border agents. They launder their money through an art gallery in Laguna Beach, build an LSD lab in Palm Springs, and are ultimately responsible for distributing over 100 million hits of acid.\u003c/p>\n\u003cp>What’s being described here is no fiction. It’s the very real — and very colorful — story of The Brotherhood of Eternal Love, the subject of \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Orange Sunshine\u003c/em>\u003c/a>, an excellent new documentary by director William A. Kirkley. The movie, which was a breakout hit at SXSW this year, gets its \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">theatrical premiere in San Francisco on Nov. 17 at Slim’s\u003c/a>. The event includes a performance by \u003ca href=\"http://mattcosta.com/\" target=\"_blank\" rel=\"noopener\">Matt Costa\u003c/a>, who wrote the film’s wonderfully lysergic soundtrack.\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/j-zvY7I0BY0'\n title='//www.youtube.com/embed/j-zvY7I0BY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At their core, the Brotherhood weren’t terribly different from other seekers of their era. They responded to the violence and chaos of the Vietnam War abroad and turbulent race relations at home by following psychedelic guru Timothy Leary’s advice to “turn on, tune in, and drop out.” They yearned for the higher planes of connection proselytized by the musicians, artists, and academics around them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The difference, however, was the fervor behind the Brotherhood’s beliefs. Theirs was a single-minded intensity that put their safety and that of their families second to a larger mission of ensuring everyone, countrywide, had access to affordable psychedelics.\u003c/p>\n\u003cfigure id=\"attachment_12323274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12323274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg\" alt=\"Mike and Carol Randall, members of the Brotherhood\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1920x1290.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike and Carol Randall, members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, they made fake passports for themselves and fake school transcripts for their kids. They smuggled drugs from countries where punishment for such infractions was death. They moved from their Laguna Beach hub into hidden canyons to evade the law. They even engineered a jailbreak for Leary after he was incarcerated in San Luis Obispo for minor drug possession.\u003c/p>\n\u003cp>The influence of this resourceful “Hippie Mafia” grew so strong that the acid they widely distributed (including the ubiquitous Orange Sunshine strain, from which the documentary takes its title) ended up in the hands of Steve Jobs and the Beatles.\u003c/p>\n\u003cp>Just when you think you’ve heard all the crazy cult stories the ’60s had to offer,\u003cem> Orange Sunshine\u003c/em> tells a thrilling tale with international intrigue. Kirkley, who grew up in Laguna Beach, \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">writes in a director’s statement\u003c/a> that he was inspired to make the film after hearing rumors of these psychedelic outlaws for years. He wanted to confirm both their existence and Orange County’s roots as the site of a massive counter-cultural revolution, given the region’s conservative reputation today. But it took years for these former fugitives to agree to show their faces on camera, which is perhaps why this story hasn’t been widely told outside of the\u003ca href=\"https://www.amazon.com/dp/B004RCNVMG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\"> 2011 book \u003cem>Orange Sunshine\u003c/em>\u003c/a> by Nick Schou (who also wrote articles about the group for \u003cem>OC Weekly\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12344886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg\" alt=\"Wendy Bevan, a Brotherhood member, in the '70s.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg 1404w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Bevan, a Brotherhood member, in the ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>Kirkley shapes \u003cem>Orange Sunshine\u003c/em>’s narrative through interviews with the surviving members of the Brotherhood — and the law enforcement officials who pursued them — as well as archival photos and newsreel footage. He also uses beautifully-shot reenactments that maintain the amber glow of the older material. Scripted scenes of Brotherhood members in their teens and twenties almost look like home movies, thanks to Kirkley’s decision to shoot them on Super 8 film.\u003c/p>\n\u003cp>Unlike \u003cem>The Source Family\u003c/em>, another excellent documentary about the rise of a stoned spiritual cult from the ’60s, \u003cem>Orange Sunshine\u003c/em> doesn’t explore how the actions of the Brotherhood founders trickled down into the lives of their children, which is an unfortunate and conspicuous omission. Being raised around so much acid and operating under so many different aliases must have had an effect on the kids shown running around in old photos.\u003c/p>\n\u003cfigure id=\"attachment_12344887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344887\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg\" alt=\"John and Carol Griggs, some of the founders of the Brotherhood\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1920x2605.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John and Carol Griggs, founding members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>No, the losses described in the documentary are mainly between the adults, whose love for one another is evident even all these decades later. Kirkley writes that the movie is fundamentally about “how we discover and define what is important; of social change in its infancy; of the choices people make, losses suffered and love forged.”\u003c/p>\n\u003cp>Costa’s music provides another narrative thread. Like the cinematography, it gives the story a golden ’60s patina. In an email from Argentina, where he’s working on a new record, the Huntington Beach songwriter tells me that before working on the film, he’d only heard of the Brotherhood from \u003cem>OC Weekly\u003c/em> articles.\u003c/p>\n\u003cp>When Kirkley asked Costa to contribute some songs to the documentary, though, the music poured out of him. “Three songs turned into 40,” Costa says. The soundtrack swings between jazzier tunes influenced by Art Blakey and jangly rock ‘n’ roll in the realm of psych-folksters Rodriguez and Allah-Las.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Costa grew up skateboarding more than surfing, but says he sees the connection between psychoactive drugs, surfing, and art as “just shredding the BS.”\u003c/p>\n\u003cp>“If you seek something righteous, whether you seclude yourself in a monastery or you take LSD and go surfing,” he says, “the goal is enlightenment rather than escapism.”\u003c/p>\n\u003cp>In the end, the Brotherhood’s path comes off in \u003cem>Orange Sunshine\u003c/em> as equal parts societal withdrawal and search for enlightenment. In attempting to escape the harsh realities of their era — as well as international drug laws — these radical hippies lived in an alternate universe of their own making. Theirs is a vivid world that was just made to be projected on the big screen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003c/p>\n\u003cp>\u003cem>A screening of ‘Orange Sunshine’ with a performance by Matt Costa takes place on Thursday, Nov. 17, at Slim’s. \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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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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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"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",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
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