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"content": "\u003cp>Did you miss the SJ Jazz Center opening night? You can still\u003cstrong> \u003ca href=\"http://www.kqed.org/arts/music/sfjazzcenteropeningnight.jsp\">listen to it\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>The center's acoustics is unique, as KQED's Cy Musiker recently \u003ca href=\"http://www.kqed.org/news/story/2013/01/22/114884/music_center_opens_with_a_sound_crafted_for_jazz?category=bay+area\" target=\"_blank\">reported\u003c/a>...\u003c/p>\n\u003cblockquote>\u003cp>The Robert N. Miner Auditorium in San Francisco's new $65 million SFJAZZ Center is the first concert hall in the United States built just for America's native musical form-- and that presented some special challenges to acoustic designer Sam Berkow.\u003c/p>\n\u003cp>He says the hall needs to accommodate a wide range of styles--from solo piano with very light amplification all the way to bold, brassy big bands...\u003c/p>\n\u003cp>Pretty much every surface has some sound-enhancing trick up its sleeve, including the acoustical canopy, like a big rigid sail, above the stage.\u003c/p>\n\u003cp>\"There are really only three things you can do with sound.\" Berkow explained. \"You can absorb it, you can redirect it, or you can diffuse it. And the canopy does all three.\"\u003c/p>\n\u003cp>Berkow and his crew had set the canopy at just the right angle earlier that day, positioning it so it would reflect and diffuse sound evenly to all 700 seats in the hall.\u003c/p>\n\u003cp>The goal might best be described as giving each listener the feeling they're in an intimate jazz club, minus the clinking cocktail glasses. \u003ca href=\"http://www.kqed.org/news/story/2013/01/22/114884/music_center_opens_with_a_sound_crafted_for_jazz?category=bay+area\" target=\"_blank\">Full article\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->Okay, so you maybe you won't feel like you're in an intimate jazz club while you're listening on the web, but still, check out the performers!\u003c/p>\n\u003cp>\u003ca name=\"lineup\">\u003c/a>\u003c/p>\n\u003cp>The lineup Wednesday night...\u003c/p>\n\u003cul>\n\u003cli>Bill Cosby, Master of Ceremonies\u003c/li>\n\u003cli>McCoy Tyner\u003c/li>\n\u003cli>Chick Corea\u003c/li>\n\u003cli>Esperanza Spalding\u003c/li>\n\u003cli>Joshua Redman\u003c/li>\n\u003cli>Joe Lovano\u003c/li>\n\u003cli>Bobby Hutcherson\u003c/li>\n\u003cli>Mary Stallings\u003c/li>\n\u003cli>John Handy\u003c/li>\n\u003cli>Pete Escovedo\u003c/li>\n\u003cli>Eric Reed\u003c/li>\n\u003c/ul>\n\u003cp>Plus...\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Resident Artistic Directors:\u003c/p>\n\u003cul>\n\u003cli>Regina Carter\u003c/li>\n\u003cli>Bill Frisell\u003c/li>\n\u003cli>Jason Moran\u003c/li>\n\u003cli>John Santos\u003c/li>\n\u003cli>Miguel Zenón\u003c/li>\n\u003c/ul>\n\u003cp>and...\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFJAZZ Collective:\u003c/p>\n\u003cul>\n\u003cli>Miguel Zenón\u003c/li>\n\u003cli>David Sánchez\u003c/li>\n\u003cli>Robin Eubanks\u003c/li>\n\u003cli>Avishai Cohen\u003c/li>\n\u003cli>Stefon Harris\u003c/li>\n\u003cli>Edward Simon\u003c/li>\n\u003cli>Matt Penman\u003c/li>\n\u003cli>Jeff Ballard\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you miss the SJ Jazz Center opening night? You can still\u003cstrong> \u003ca href=\"http://www.kqed.org/arts/music/sfjazzcenteropeningnight.jsp\">listen to it\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>The center's acoustics is unique, as KQED's Cy Musiker recently \u003ca href=\"http://www.kqed.org/news/story/2013/01/22/114884/music_center_opens_with_a_sound_crafted_for_jazz?category=bay+area\" target=\"_blank\">reported\u003c/a>...\u003c/p>\n\u003cblockquote>\u003cp>The Robert N. Miner Auditorium in San Francisco's new $65 million SFJAZZ Center is the first concert hall in the United States built just for America's native musical form-- and that presented some special challenges to acoustic designer Sam Berkow.\u003c/p>\n\u003cp>He says the hall needs to accommodate a wide range of styles--from solo piano with very light amplification all the way to bold, brassy big bands...\u003c/p>\n\u003cp>Pretty much every surface has some sound-enhancing trick up its sleeve, including the acoustical canopy, like a big rigid sail, above the stage.\u003c/p>\n\u003cp>\"There are really only three things you can do with sound.\" Berkow explained. \"You can absorb it, you can redirect it, or you can diffuse it. And the canopy does all three.\"\u003c/p>\n\u003cp>Berkow and his crew had set the canopy at just the right angle earlier that day, positioning it so it would reflect and diffuse sound evenly to all 700 seats in the hall.\u003c/p>\n\u003cp>The goal might best be described as giving each listener the feeling they're in an intimate jazz club, minus the clinking cocktail glasses. \u003ca href=\"http://www.kqed.org/news/story/2013/01/22/114884/music_center_opens_with_a_sound_crafted_for_jazz?category=bay+area\" target=\"_blank\">Full article\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->Okay, so you maybe you won't feel like you're in an intimate jazz club while you're listening on the web, but still, check out the performers!\u003c/p>\n\u003cp>\u003ca name=\"lineup\">\u003c/a>\u003c/p>\n\u003cp>The lineup Wednesday night...\u003c/p>\n\u003cul>\n\u003cli>Bill Cosby, Master of Ceremonies\u003c/li>\n\u003cli>McCoy Tyner\u003c/li>\n\u003cli>Chick Corea\u003c/li>\n\u003cli>Esperanza Spalding\u003c/li>\n\u003cli>Joshua Redman\u003c/li>\n\u003cli>Joe Lovano\u003c/li>\n\u003cli>Bobby Hutcherson\u003c/li>\n\u003cli>Mary Stallings\u003c/li>\n\u003cli>John Handy\u003c/li>\n\u003cli>Pete Escovedo\u003c/li>\n\u003cli>Eric Reed\u003c/li>\n\u003c/ul>\n\u003cp>Plus...\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Netflix Shares Skyrocket After Earnings Report",
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"content": "\u003cp>SAN FRANCISCO (AP) — Netflix's Internet video service warded off stiffer competition to add 2 million U.S. subscribers during the final three months of the year to produce an unexpected profit for the company.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/netflixlogo.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/netflixlogo.jpg\" alt=\"netflixlogo\" width=\"94\" height=\"94\" class=\"alignleft size-full wp-image-14255\">\u003c/a>The fourth-quarter performance announced Wednesday validates investors' recent confidence in Netflix Inc., whose volatile stock had surged by more than 30 percent since early December. The stock soared another $34.49, or 33 percent, to $137.75 in extended trading after the numbers came out. If the shares trade similarly in Thursday's regular trading session, it will propel Netflix's stock a new 52-week high.\u003c/p>\n\u003cp>The surge in new customers left Netflix with 27.1 million U.S. subscribers to its service that streams movies and TV shows to Internet-connected devices.\u003c/p>\n\u003cp>Netflix's expansion also gathered more momentum as the company ended the quarter with an additional 1.8 million subscribers outside the U.S.\u003c/p>\n\u003cp>That means Netflix entered this year with 33.3 million video-streaming subscribers worldwide. \u003c!--more-->\u003c/p>\n\u003caside class=\"pullquote alignleft\">\u003ca href=\"http://finance.yahoo.com/q?s=nflx&ql=1\">\u003cstrong>NFLX realtime stock quote\u003c/strong>\u003c/a> (Yahoo! Finance)\u003c/aside>\n\u003cp>Netflix also still has 8.2 million customers signed up for the DVD-by-mail rental plans that launched the company's early success. Although Netflix is phasing out the disc service, the company hung on to more of the DVD subscribers than it anticipated during the fourth quarter. Netflix lost 382,000 DVD subscribers during the quarter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Netflix earned nearly $8 million, or 13 cents per share. That was a 78 percent plunge from net income of $35.2 million, or 64 cents per share, at the same time last year.\u003c/p>\n\u003cp>Taking their cue from Netflix's own projections in October, analysts polled by FactSet had predicted the company's would lose 12 cents per share as expenses for the international expansion and video-licensing rises outpaced revenue growth.\u003c/p>\n\u003cp>Revenue climbed 8 percent from the previous year to $945 million, about $10 million above expectations.\u003c/p>\n\u003cp>Netflix appears confident that its recent momentum will carry into the current quarter, which will be highlight by the Feb. 1 debut of a much-anticipated TV series called \"House of Cards\" produced exclusively for the video streaming service. The series stars Academy Award-winning actor Kevin Spacey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company forecast its video streaming service will pick up 1.35 million to 2.1 million in the U.S. during the first three months of this year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SAN FRANCISCO (AP) — Netflix's Internet video service warded off stiffer competition to add 2 million U.S. subscribers during the final three months of the year to produce an unexpected profit for the company.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/netflixlogo.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/netflixlogo.jpg\" alt=\"netflixlogo\" width=\"94\" height=\"94\" class=\"alignleft size-full wp-image-14255\">\u003c/a>The fourth-quarter performance announced Wednesday validates investors' recent confidence in Netflix Inc., whose volatile stock had surged by more than 30 percent since early December. The stock soared another $34.49, or 33 percent, to $137.75 in extended trading after the numbers came out. If the shares trade similarly in Thursday's regular trading session, it will propel Netflix's stock a new 52-week high.\u003c/p>\n\u003cp>The surge in new customers left Netflix with 27.1 million U.S. subscribers to its service that streams movies and TV shows to Internet-connected devices.\u003c/p>\n\u003cp>Netflix's expansion also gathered more momentum as the company ended the quarter with an additional 1.8 million subscribers outside the U.S.\u003c/p>\n\u003cp>That means Netflix entered this year with 33.3 million video-streaming subscribers worldwide. \u003c!--more-->\u003c/p>\n\u003caside class=\"pullquote alignleft\">\u003ca href=\"http://finance.yahoo.com/q?s=nflx&ql=1\">\u003cstrong>NFLX realtime stock quote\u003c/strong>\u003c/a> (Yahoo! Finance)\u003c/aside>\n\u003cp>Netflix also still has 8.2 million customers signed up for the DVD-by-mail rental plans that launched the company's early success. Although Netflix is phasing out the disc service, the company hung on to more of the DVD subscribers than it anticipated during the fourth quarter. Netflix lost 382,000 DVD subscribers during the quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix earned nearly $8 million, or 13 cents per share. That was a 78 percent plunge from net income of $35.2 million, or 64 cents per share, at the same time last year.\u003c/p>\n\u003cp>Taking their cue from Netflix's own projections in October, analysts polled by FactSet had predicted the company's would lose 12 cents per share as expenses for the international expansion and video-licensing rises outpaced revenue growth.\u003c/p>\n\u003cp>Revenue climbed 8 percent from the previous year to $945 million, about $10 million above expectations.\u003c/p>\n\u003cp>Netflix appears confident that its recent momentum will carry into the current quarter, which will be highlight by the Feb. 1 debut of a much-anticipated TV series called \"House of Cards\" produced exclusively for the video streaming service. The series stars Academy Award-winning actor Kevin Spacey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company forecast its video streaming service will pick up 1.35 million to 2.1 million in the U.S. during the first three months of this year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland Filmmaker's Oscar Grant Film Picked Up by Weinstein Co.",
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"content": "\u003cp>The Weinstein Co. has purchased rights to a feature film about the death of Oscar Grant, \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-sundance-2013-weinstein-co-buys-fruitvale-20130121,0,2475140.story\">according to the Los Angeles Times\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>In a deal for about $2 million, the Weinstein Co. has acquired rights to the drama “Fruitvale,” shown at the Sundance Film Festival, according to a person close to the film who was not authorized to speak on the record.\u003c/p>\u003c/blockquote>\n\u003cp>Oakland filmmaker Ryan Coogler, 26, drew on his own experiences growing up in Oakland to write \"Fruitvale,\" about the day Grant was shot by BART police officer Johannes Mehserle, Jan. 1, 2009.\u003c/p>\n\u003cp>In this video, Coogler recalls hearing about the shooting:\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/GYdqxDuif9o?rel=0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cp>Mehserle was \u003ca href=\"http://www.sfgate.com/crime/article/Johannes-Mehserle-s-appeal-rejected-3861383.php\">convicted of manslaughter\u003c/a> in the killing, which drew sometimes violent protests.\u003c!--more-->\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://ww2.kqed.org/news/2012/07/24/oscar-grant-family-looking-forward-to-fruitvale-film-about-the-shooting/\">News Fix reported\u003c/a> in July, Coogler made the film with the participation of Grant's family, and shot scenes at BART.\u003c/p>\n\u003cp>The film follows Grant as he strives to establish himself after leaving San Quentin, according to the Hollywood Reporter, which gave the movie a \u003ca href=\"http://www.hollywoodreporter.com/movie/fruitvale/review/414010\">positive review\u003c/a>. The review says the film doesn't give the reason for Grant's incarceration. (According to a \u003ca href=\"http://www.sfgate.com/bayarea/article/BART-shooting-victim-s-family-files-claim-3177160.php\">San Francisco Chronicle report\u003c/a>, \"Grant was sentenced to 16 months in state prison in 2007 after he fled from a traffic stop while armed with a loaded pistol.\"\u003c/p>\n\u003cp>Michael B. Jordan (\"The Wire,\" \"Friday Night Lights\") plays Grant in the film and Octavia Spencer (\"The Help\") plays his mother.\u003c/p>\n\u003cp>\u003ca href=\"http://filmmakermagazine.com/people/ryan-coogler/\">Filmmaker\u003c/a> describes how Coogler got inspired to write screenplays while attending Saint Mary's College in Moraga on an athletic scholarship.\u003c/p>\n\u003cblockquote>\u003cp>Ryan Coogler remembers the first moment it occurred to him to become a film director. Having grown up in Oakland, Coogler was on a football scholarship to Saint Mary’s College in Moraga, Calif., where he had to take a creative writing class. The assignment was to write about a personal experience, and Coogler wrote about the time his father almost bled to death in his arms. He handed it in, and the professor called him into her office. What did Coogler want to do with his life? “Play ball, become a doctor and be a positive influence in my community,” he replied. He remembers her saying, “I think you should become a screenwriter. You can reach more people.”\u003c/p>\u003c/blockquote>\n\u003cp>Coogler attended a screenwriting seminar at Sundance, and Forest Whitaker signed on as co-producer of the film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coogler's short film, \"Fig\"\u003ca href=\"http://www.hbo.com/#/schedule/detail/Fig/575154\"> debuts on HBO\u003c/a> Feb. 19.\u003c/p>\n\n",
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"description": "The Weinstein Co. has purchased rights to a feature film about the death of Oscar Grant, according to the Los Angeles Times: In a deal for about $2 million, the Weinstein Co. has acquired rights to the drama “Fruitvale,” shown at the Sundance Film Festival, according to a person close to the film who was",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Weinstein Co. has purchased rights to a feature film about the death of Oscar Grant, \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-sundance-2013-weinstein-co-buys-fruitvale-20130121,0,2475140.story\">according to the Los Angeles Times\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>In a deal for about $2 million, the Weinstein Co. has acquired rights to the drama “Fruitvale,” shown at the Sundance Film Festival, according to a person close to the film who was not authorized to speak on the record.\u003c/p>\u003c/blockquote>\n\u003cp>Oakland filmmaker Ryan Coogler, 26, drew on his own experiences growing up in Oakland to write \"Fruitvale,\" about the day Grant was shot by BART police officer Johannes Mehserle, Jan. 1, 2009.\u003c/p>\n\u003cp>In this video, Coogler recalls hearing about the shooting:\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/GYdqxDuif9o?rel=0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cp>Mehserle was \u003ca href=\"http://www.sfgate.com/crime/article/Johannes-Mehserle-s-appeal-rejected-3861383.php\">convicted of manslaughter\u003c/a> in the killing, which drew sometimes violent protests.\u003c!--more-->\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"http://ww2.kqed.org/news/2012/07/24/oscar-grant-family-looking-forward-to-fruitvale-film-about-the-shooting/\">News Fix reported\u003c/a> in July, Coogler made the film with the participation of Grant's family, and shot scenes at BART.\u003c/p>\n\u003cp>The film follows Grant as he strives to establish himself after leaving San Quentin, according to the Hollywood Reporter, which gave the movie a \u003ca href=\"http://www.hollywoodreporter.com/movie/fruitvale/review/414010\">positive review\u003c/a>. The review says the film doesn't give the reason for Grant's incarceration. (According to a \u003ca href=\"http://www.sfgate.com/bayarea/article/BART-shooting-victim-s-family-files-claim-3177160.php\">San Francisco Chronicle report\u003c/a>, \"Grant was sentenced to 16 months in state prison in 2007 after he fled from a traffic stop while armed with a loaded pistol.\"\u003c/p>\n\u003cp>Michael B. Jordan (\"The Wire,\" \"Friday Night Lights\") plays Grant in the film and Octavia Spencer (\"The Help\") plays his mother.\u003c/p>\n\u003cp>\u003ca href=\"http://filmmakermagazine.com/people/ryan-coogler/\">Filmmaker\u003c/a> describes how Coogler got inspired to write screenplays while attending Saint Mary's College in Moraga on an athletic scholarship.\u003c/p>\n\u003cblockquote>\u003cp>Ryan Coogler remembers the first moment it occurred to him to become a film director. Having grown up in Oakland, Coogler was on a football scholarship to Saint Mary’s College in Moraga, Calif., where he had to take a creative writing class. The assignment was to write about a personal experience, and Coogler wrote about the time his father almost bled to death in his arms. He handed it in, and the professor called him into her office. What did Coogler want to do with his life? “Play ball, become a doctor and be a positive influence in my community,” he replied. He remembers her saying, “I think you should become a screenwriter. You can reach more people.”\u003c/p>\u003c/blockquote>\n\u003cp>Coogler attended a screenwriting seminar at Sundance, and Forest Whitaker signed on as co-producer of the film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coogler's short film, \"Fig\"\u003ca href=\"http://www.hbo.com/#/schedule/detail/Fig/575154\"> debuts on HBO\u003c/a> Feb. 19.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jon Stewart Remark Launches 'Kumbaya Patrol' in Marin",
"headTitle": "Jon Stewart Remark Launches ‘Kumbaya Patrol’ in Marin | KQED",
"content": "\u003cp>You could do worse than become known as a land of love and peace, a group of Marinites decided last week. That’s after comedian Jon Stewart referred off-hand to a “Kumbaya Patrol” in Marin County.\u003c/p>\n\u003cp>“Finally everyone from the NRA to the Marin County Kumbaya Patrol is ready to talk about gun violence, although, to be fair, the Kumbaya Patrol has been ready for quite some time now,” he cracked on the Jan. 8 “Daily Show.”\u003c/p>\n\u003cp>The Marin remark comes toward the beginning of this segment:\u003c/p>\n\u003cdiv style=\"background-color: #000000;width: 520px\">\n\u003cdiv style=\"padding: 4px\">\u003ciframe loading=\"lazy\" src=\"http://media.mtvnservices.com/embed/mgid:cms:video:thedailyshow.com:422698\" frameborder=\"0\" width=\"512\" height=\"288\">\u003c/iframe>\n\u003cp style=\"text-align: left;background-color: #ffffff;padding: 4px;margin-top: 4px;margin-bottom: 0px;font-family: Arial, Helvetica, sans-serif;font-size: 12px\">\u003cstrong>\u003ca href=\"http://www.thedailyshow.com/watch/tue-january-8-2013/scapegoat-hunter\">The Daily Show with Jon Stewart\u003c/a>\u003c/strong>\u003cbr>\nGet More: \u003ca href=\"http://www.thedailyshow.com/full-episodes/\">Daily Show Full Episodes\u003c/a>,\u003ca href=\"http://www.indecisionforever.com/\">Political Humor & Satire Blog\u003c/a>,\u003ca href=\"http://www.facebook.com/thedailyshow\">The Daily Show on Facebook\u003c/a>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.marinij.com/sanrafael/ci_22357644/jon-stewarts-daily-show-joke-spawns-marin-county\">the Marin Independent Journal\u003c/a>, the remark took on a life of its own:\u003c/p>\n\u003cblockquote>\u003cp>The next day, Iron Springs Brewery in Fairfax saw Marin’s national exposure as a chance to have some fun with its customers, posting on its Facebook page an offer of complimentary fries to “anyone from the Marin County Kumbaya Patrol from noon to 4 today.”\u003c/p>\n\u003cp>Of course the brewery didn’t have to worry about a run on fries because there really wasn’t a Marin County Kumbaya Patrol. But there would be soon enough. After one of his friends was refused free fries, Adam Ladwig, a 32-year-old San Rafael accountant, created a Marin County Kumbaya Patrol Facebook group page that became an instant hit.\u003c/p>\u003c/blockquote>\n\u003cp>As of noon on Tuesday, 646 people have “liked” the \u003ca href=\"https://www.facebook.com/MarinCountyKumbayaPatrol\">Facebook group\u003c/a>. So far the group has not announced any actual patrols. But Stewart has it right when he calls Marin County a place likely to control guns. A recent gun buy-back program in Novato was a huge success, \u003ca href=\"http://sananselmofairfax.patch.com/articles/line-down-the-block-for-gun-buy-back-program#video-12970351\">the San Anselmo-Fairfax Patch reports\u003c/a>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So far the Kumbaya Patrol has not announced any actual missions.\u003c/p>\n\u003cp>But what exactly would a Kumbaya Patrol do, anyway?\u003c/p>\n\u003cp>Kumbaya, of course, is the name of a song with such lyrics as “Kumbaya, my lord, kumbaya.” According to a 2010 \u003ca href=\"http://www.nytimes.com/2010/11/20/us/20religion.html?_r=2&hp&\">New York Times\u003c/a> article, the word Kumbaya is a distortion of “Come By Here,” and dates back to Gullah dialect songs from the coast of Georgia, first documented in the 1920s.\u003c/p>\n\u003cblockquote>\u003cp>The lyrics told of people in despair and in trouble, calling on heaven for help, and beseeching God in the refrain, “Come by here,”\u003c/p>\n\u003cp>…a song deeply rooted in black Christianity’s vision of a God who intercedes to deliver both solace and justice, by the 1960s became the pallid pop-folk sing-along “Kumbaya.” And “Kumbaya,” in turn, has lately been transformed into snarky shorthand for ridiculing a certain kind of idealism, a quest for common ground.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Given the schoolhouse massacre that inspired the current debate on gun control, perhaps the original meaning makes the most sense.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You could do worse than become known as a land of love and peace, a group of Marinites decided last week. That’s after comedian Jon Stewart referred off-hand to a “Kumbaya Patrol” in Marin County.\u003c/p>\n\u003cp>“Finally everyone from the NRA to the Marin County Kumbaya Patrol is ready to talk about gun violence, although, to be fair, the Kumbaya Patrol has been ready for quite some time now,” he cracked on the Jan. 8 “Daily Show.”\u003c/p>\n\u003cp>The Marin remark comes toward the beginning of this segment:\u003c/p>\n\u003cdiv style=\"background-color: #000000;width: 520px\">\n\u003cdiv style=\"padding: 4px\">\u003ciframe loading=\"lazy\" src=\"http://media.mtvnservices.com/embed/mgid:cms:video:thedailyshow.com:422698\" frameborder=\"0\" width=\"512\" height=\"288\">\u003c/iframe>\n\u003cp style=\"text-align: left;background-color: #ffffff;padding: 4px;margin-top: 4px;margin-bottom: 0px;font-family: Arial, Helvetica, sans-serif;font-size: 12px\">\u003cstrong>\u003ca href=\"http://www.thedailyshow.com/watch/tue-january-8-2013/scapegoat-hunter\">The Daily Show with Jon Stewart\u003c/a>\u003c/strong>\u003cbr>\nGet More: \u003ca href=\"http://www.thedailyshow.com/full-episodes/\">Daily Show Full Episodes\u003c/a>,\u003ca href=\"http://www.indecisionforever.com/\">Political Humor & Satire Blog\u003c/a>,\u003ca href=\"http://www.facebook.com/thedailyshow\">The Daily Show on Facebook\u003c/a>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.marinij.com/sanrafael/ci_22357644/jon-stewarts-daily-show-joke-spawns-marin-county\">the Marin Independent Journal\u003c/a>, the remark took on a life of its own:\u003c/p>\n\u003cblockquote>\u003cp>The next day, Iron Springs Brewery in Fairfax saw Marin’s national exposure as a chance to have some fun with its customers, posting on its Facebook page an offer of complimentary fries to “anyone from the Marin County Kumbaya Patrol from noon to 4 today.”\u003c/p>\n\u003cp>Of course the brewery didn’t have to worry about a run on fries because there really wasn’t a Marin County Kumbaya Patrol. But there would be soon enough. After one of his friends was refused free fries, Adam Ladwig, a 32-year-old San Rafael accountant, created a Marin County Kumbaya Patrol Facebook group page that became an instant hit.\u003c/p>\u003c/blockquote>\n\u003cp>As of noon on Tuesday, 646 people have “liked” the \u003ca href=\"https://www.facebook.com/MarinCountyKumbayaPatrol\">Facebook group\u003c/a>. So far the group has not announced any actual patrols. But Stewart has it right when he calls Marin County a place likely to control guns. A recent gun buy-back program in Novato was a huge success, \u003ca href=\"http://sananselmofairfax.patch.com/articles/line-down-the-block-for-gun-buy-back-program#video-12970351\">the San Anselmo-Fairfax Patch reports\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So far the Kumbaya Patrol has not announced any actual missions.\u003c/p>\n\u003cp>But what exactly would a Kumbaya Patrol do, anyway?\u003c/p>\n\u003cp>Kumbaya, of course, is the name of a song with such lyrics as “Kumbaya, my lord, kumbaya.” According to a 2010 \u003ca href=\"http://www.nytimes.com/2010/11/20/us/20religion.html?_r=2&hp&\">New York Times\u003c/a> article, the word Kumbaya is a distortion of “Come By Here,” and dates back to Gullah dialect songs from the coast of Georgia, first documented in the 1920s.\u003c/p>\n\u003cblockquote>\u003cp>The lyrics told of people in despair and in trouble, calling on heaven for help, and beseeching God in the refrain, “Come by here,”\u003c/p>\n\u003cp>…a song deeply rooted in black Christianity’s vision of a God who intercedes to deliver both solace and justice, by the 1960s became the pallid pop-folk sing-along “Kumbaya.” And “Kumbaya,” in turn, has lately been transformed into snarky shorthand for ridiculing a certain kind of idealism, a quest for common ground.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Given the schoolhouse massacre that inspired the current debate on gun control, perhaps the original meaning makes the most sense.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Francisco Film Critic Mick LaSalle on His Call For Less Violence in Films",
"title": "San Francisco Film Critic Mick LaSalle on His Call For Less Violence in Films",
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"content": "\u003cp>It’s a rare moment when a San Francisco Chronicle Columnist finds common ground with the executive director of the National Rifle Association.\u003c/p>\n\u003cfigure id=\"attachment_85677\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film.jpg\">\u003cimg class=\"size-medium wp-image-85677\" title=\"Dark Knight Rises batman film\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film-300x187.jpg\" alt=\"\" width=\"300\" height=\"187\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mick LaSalle found the film \"Dark Knight Rises\" to be \"anti-life.\" (Warner Brothers)\u003c/figcaption>\u003c/figure>\n\u003cp>That happened this month when Chronicle film critic Mick LaSalle put out a call to stanch the flow of cinema carnage. Wayne LaPierre of the NRA made a similar appeal just weeks before. Both were responding to the Dec. 14 massacre of school children at Sandy Hook Elementary School.\u003c/p>\n\u003cp>To be sure, LaSalle isn’t endorsing the NRA’s position whole hog. He still thinks fewer people would shoot each other if there were fewer guns available, a proposition that’s anathema to LaPierre.\u003c/p>\n\u003cp>And LaSalle isn't calling for censorship. In \u003ca href=\"http://www.amazon.com/Mick-LaSalle/e/B001KDBDAM/ref=ntt_athr_dp_pel_1\">two books\u003c/a>, he lamented the era from 1934 to 1968 when Hollywood studios voluntarily submitted their films to the Production Code Administration for approval.\u003c/p>\n\u003cp>But LaSalle had this to say in his \u003ca href=\"http://www.sfgate.com/movies/article/Violent-media-poisoning-nation-s-soul-4160035.php\" target=\"_blank\">Jan. 2 essay\u003c/a>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cblockquote>\u003cp>The interaction between real-life and movies is complicated. Some will claim that movies influence behavior, even as producers will invariably insist that movies only reflect society, as though movies were some unobtrusive aspect of culture, unnoticed by the world.\u003c/p>\n\u003cp>The truth is that movies and society influence each other in ways that overlap and are therefore arguable. But clearly something seems to be going on, and something is in need of changing.\u003c/p>\u003c/blockquote>\n\u003cp>LaSalle said he had an \"epiphany\" after a gunman, by some accounts dressed as a Batman villain, sprayed bullets at an audience for the film “The Dark Knight Rises” in Aurora, Colo., last July...\u003c/p>\n\u003cblockquote>\u003cp>When I saw it at an advance screening, I regarded it as a wallow in nonstop cruelty and destruction, a film that was antilife. But when I wrote the review, I said none of those things, which I considered to be too subjective and personal, and instead concentrated on objective aspects of the movie that I deemed deficient, and I gave it a middling-to-negative review.\u003c/p>\n\u003cp>Then came the events in that movie theater in Aurora, Colo., and suddenly my own writing about this film seemed to me limp and inadequate - no, flat-out pathetic. It's not that \"The Dark Knight Rises\" directly caused a maniac to start killing people in a movie theater; obviously, it didn't. But it did seem to me that the soul-crushing chaos of the film - ultimately reflected in what happened in Aurora - warranted a response that it never got.\u003c/p>\u003c/blockquote>\n\u003cp>Does this mean critics should pass moral judgment on films?\u003c/p>\n\u003cp>“A critic should not end up saying ‘this film offended me,’” LaSalle told me. “Because to say films are good or bad to the extent they comport with my value system is to become useless as a critic. But just because you don’t want to do that doesn’t mean you can’t say that this movie is anti-life. To ignore that 'The Dark Knight Rises' is an ugly, nihilistic vision is not to sidestep a moral judgment, it’s to sidestep making something clear that’s essential to how that movie functions.”\u003c/p>\n\u003cp>LaSalle said that out of 300 to 350 emails, perhaps seven or eight have disagreed with his essay, which appeared in multiple newspapers around the country.\u003c/p>\n\u003cp>“So many emails have said ‘you’re so brave,’ but the fact of the matter is that it wasn’t brave because everybody agreed with it.\"\u003c/p>\n\u003cp>LaSalle said he’d like to see more pressure put on the Motion Picture Association of America, the trade association for the movie business that rates its own films. He said the association should use violence as a much more important criterion in imposing ratings.\u003c/p>\n\u003cp>Specifically he wants one act of violence in a movie to result in an R rating, just as sex triggers that rating now. “All I’m doing here is saying that guns should be considered as dangerous as nipples.”\u003c/p>\n\u003cp>LaSalle seems to have scientific research on his side, with multiple studies correlating violence in the media to violence in real life. \"The evidence is now clear and convincing: media violence is 1 of the causal factors of real-life violence and aggression,\" the American Academy of Pediatrics concluded in \u003ca href=\"http://pediatrics.aappublications.org/content/124/5/1495.full\">a 2009 policy statement\u003c/a>.\u003c/p>\n\u003cp>Likewise the International Society for Research on Aggression \u003ca href=\"http://www.israsociety.com/pdfs/Media%20Violence%20Commission%20final%20report.pdf\">concluded\u003c/a> that the rating system for movies and other media needs to be improved.\u003c/p>\n\u003cp>I called the Motion Picture Association for a reaction to LaSalle's suggestion, but the director of communications said it would have no comment. That was the response I got from Warner Bros. as well.\u003c/p>\n\u003cp>Vice president Joseph Biden did a little better – he met with some of the heads of major studios along with television producers and theater owners on Thursday, after which the organizations put out a joint statement:\u003c/p>\n\u003cp>\"The entertainment community appreciates being included in the dialogue around the Administration's efforts to confront the complex challenge of gun violence in America. This industry has a longstanding commitment to provide parents the tools necessary to make the right viewing decisions for their families. We welcome the opportunity to share that history and look forward to doing our part to seek meaningful solutions.\"\u003c/p>\n\u003cp>But any attempt to impose new restrictions on the media will face opposition. David Horowitz of the Media Coalition, which works for free expression for the industry, \u003ca href=\"http://www.npr.org/2013/01/11/169172196/biden-meets-with-video-game-makers-to-discuss-gun-violence\">told National Public Radio\u003c/a> that the government has no role in tamping down the violence in movies, songs or video games.\u003c/p>\n\u003cp>\"The discretion is left to the consumer to decide what he or she thinks is appropriate for him or herself or, in the case of a parent, for a child,\" he said. He noted the violence in such classic works of literature as the Iliad and even the Bible.\u003c/p>\n\u003cp>The U.S. Supreme Court has taken a similar position, as when \u003ca href=\"http://ww2.kqed.org/news/2011/06/27/supreme-court-rules-california-cant-ban-violent-video-games-for-minors/\">it struck down a state law \u003c/a>sponsored by California Sen. Leland Yee, D-San Francisco, that would have restricted children's access to violent video games.\u003c/p>\n\u003cp>LaSalle himself thinks Hollywood will shrug off any attempt to stifle the mayhem on screen.\u003c/p>\n\u003cp>“Absolutely nothing will happen,” he said. “For the MPAA to change its ratings will cost millions and millions of dollars. Fewer movies like 'Jack Reacher' would be made, or they would have to be made differently. Even if we organized, let’s say, and went to Washington and had a great meeting with everybody, we would not get what we wanted.”\u003c/p>\n\u003cp>Meetings like the one Biden held on Thursday have taken place in the past, said LaSalle. Typically the studios invite the activists to Hollywood, introduce them to some stars, and promise to review their ratings system, but warn that changes will take a few months. The activists go home and trumpet their success, he said. Months later when the activists realize that nothing has changed, they are too embarrassed to admit their failure.\u003c/p>\n\u003cp>So what’s LaSalle’s solution?\u003c/p>\n\u003cp>He’d like to see prominent politicians take a stand, not only introducing gun control legislation but also calling for less violence in films.\u003c/p>\n\u003cp>Actual legislation would be too much – LaSalle doesn’t want to see the government get into the business of editing movies – but he thinks a firm suggestion might help.\u003c/p>\n\u003cp>I called the office of California Sen. Dianne Feinstein. She has been the foremost advocate of gun control in the U.S. Senate, and I wanted to know if she had any plans to speak out on movie violence as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Her spokesperson said she she’d call me back. I'll let you know if that happens.\u003c/p>\n\n",
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"description": "Chronicle film critic Mick LaSalle put out a call to quench the deluge of movie carnage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a rare moment when a San Francisco Chronicle Columnist finds common ground with the executive director of the National Rifle Association.\u003c/p>\n\u003cfigure id=\"attachment_85677\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film.jpg\">\u003cimg class=\"size-medium wp-image-85677\" title=\"Dark Knight Rises batman film\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film-300x187.jpg\" alt=\"\" width=\"300\" height=\"187\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mick LaSalle found the film \"Dark Knight Rises\" to be \"anti-life.\" (Warner Brothers)\u003c/figcaption>\u003c/figure>\n\u003cp>That happened this month when Chronicle film critic Mick LaSalle put out a call to stanch the flow of cinema carnage. Wayne LaPierre of the NRA made a similar appeal just weeks before. Both were responding to the Dec. 14 massacre of school children at Sandy Hook Elementary School.\u003c/p>\n\u003cp>To be sure, LaSalle isn’t endorsing the NRA’s position whole hog. He still thinks fewer people would shoot each other if there were fewer guns available, a proposition that’s anathema to LaPierre.\u003c/p>\n\u003cp>And LaSalle isn't calling for censorship. In \u003ca href=\"http://www.amazon.com/Mick-LaSalle/e/B001KDBDAM/ref=ntt_athr_dp_pel_1\">two books\u003c/a>, he lamented the era from 1934 to 1968 when Hollywood studios voluntarily submitted their films to the Production Code Administration for approval.\u003c/p>\n\u003cp>But LaSalle had this to say in his \u003ca href=\"http://www.sfgate.com/movies/article/Violent-media-poisoning-nation-s-soul-4160035.php\" target=\"_blank\">Jan. 2 essay\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cblockquote>\u003cp>The interaction between real-life and movies is complicated. Some will claim that movies influence behavior, even as producers will invariably insist that movies only reflect society, as though movies were some unobtrusive aspect of culture, unnoticed by the world.\u003c/p>\n\u003cp>The truth is that movies and society influence each other in ways that overlap and are therefore arguable. But clearly something seems to be going on, and something is in need of changing.\u003c/p>\u003c/blockquote>\n\u003cp>LaSalle said he had an \"epiphany\" after a gunman, by some accounts dressed as a Batman villain, sprayed bullets at an audience for the film “The Dark Knight Rises” in Aurora, Colo., last July...\u003c/p>\n\u003cblockquote>\u003cp>When I saw it at an advance screening, I regarded it as a wallow in nonstop cruelty and destruction, a film that was antilife. But when I wrote the review, I said none of those things, which I considered to be too subjective and personal, and instead concentrated on objective aspects of the movie that I deemed deficient, and I gave it a middling-to-negative review.\u003c/p>\n\u003cp>Then came the events in that movie theater in Aurora, Colo., and suddenly my own writing about this film seemed to me limp and inadequate - no, flat-out pathetic. It's not that \"The Dark Knight Rises\" directly caused a maniac to start killing people in a movie theater; obviously, it didn't. But it did seem to me that the soul-crushing chaos of the film - ultimately reflected in what happened in Aurora - warranted a response that it never got.\u003c/p>\u003c/blockquote>\n\u003cp>Does this mean critics should pass moral judgment on films?\u003c/p>\n\u003cp>“A critic should not end up saying ‘this film offended me,’” LaSalle told me. “Because to say films are good or bad to the extent they comport with my value system is to become useless as a critic. But just because you don’t want to do that doesn’t mean you can’t say that this movie is anti-life. To ignore that 'The Dark Knight Rises' is an ugly, nihilistic vision is not to sidestep a moral judgment, it’s to sidestep making something clear that’s essential to how that movie functions.”\u003c/p>\n\u003cp>LaSalle said that out of 300 to 350 emails, perhaps seven or eight have disagreed with his essay, which appeared in multiple newspapers around the country.\u003c/p>\n\u003cp>“So many emails have said ‘you’re so brave,’ but the fact of the matter is that it wasn’t brave because everybody agreed with it.\"\u003c/p>\n\u003cp>LaSalle said he’d like to see more pressure put on the Motion Picture Association of America, the trade association for the movie business that rates its own films. He said the association should use violence as a much more important criterion in imposing ratings.\u003c/p>\n\u003cp>Specifically he wants one act of violence in a movie to result in an R rating, just as sex triggers that rating now. “All I’m doing here is saying that guns should be considered as dangerous as nipples.”\u003c/p>\n\u003cp>LaSalle seems to have scientific research on his side, with multiple studies correlating violence in the media to violence in real life. \"The evidence is now clear and convincing: media violence is 1 of the causal factors of real-life violence and aggression,\" the American Academy of Pediatrics concluded in \u003ca href=\"http://pediatrics.aappublications.org/content/124/5/1495.full\">a 2009 policy statement\u003c/a>.\u003c/p>\n\u003cp>Likewise the International Society for Research on Aggression \u003ca href=\"http://www.israsociety.com/pdfs/Media%20Violence%20Commission%20final%20report.pdf\">concluded\u003c/a> that the rating system for movies and other media needs to be improved.\u003c/p>\n\u003cp>I called the Motion Picture Association for a reaction to LaSalle's suggestion, but the director of communications said it would have no comment. That was the response I got from Warner Bros. as well.\u003c/p>\n\u003cp>Vice president Joseph Biden did a little better – he met with some of the heads of major studios along with television producers and theater owners on Thursday, after which the organizations put out a joint statement:\u003c/p>\n\u003cp>\"The entertainment community appreciates being included in the dialogue around the Administration's efforts to confront the complex challenge of gun violence in America. This industry has a longstanding commitment to provide parents the tools necessary to make the right viewing decisions for their families. We welcome the opportunity to share that history and look forward to doing our part to seek meaningful solutions.\"\u003c/p>\n\u003cp>But any attempt to impose new restrictions on the media will face opposition. David Horowitz of the Media Coalition, which works for free expression for the industry, \u003ca href=\"http://www.npr.org/2013/01/11/169172196/biden-meets-with-video-game-makers-to-discuss-gun-violence\">told National Public Radio\u003c/a> that the government has no role in tamping down the violence in movies, songs or video games.\u003c/p>\n\u003cp>\"The discretion is left to the consumer to decide what he or she thinks is appropriate for him or herself or, in the case of a parent, for a child,\" he said. He noted the violence in such classic works of literature as the Iliad and even the Bible.\u003c/p>\n\u003cp>The U.S. Supreme Court has taken a similar position, as when \u003ca href=\"http://ww2.kqed.org/news/2011/06/27/supreme-court-rules-california-cant-ban-violent-video-games-for-minors/\">it struck down a state law \u003c/a>sponsored by California Sen. Leland Yee, D-San Francisco, that would have restricted children's access to violent video games.\u003c/p>\n\u003cp>LaSalle himself thinks Hollywood will shrug off any attempt to stifle the mayhem on screen.\u003c/p>\n\u003cp>“Absolutely nothing will happen,” he said. “For the MPAA to change its ratings will cost millions and millions of dollars. Fewer movies like 'Jack Reacher' would be made, or they would have to be made differently. Even if we organized, let’s say, and went to Washington and had a great meeting with everybody, we would not get what we wanted.”\u003c/p>\n\u003cp>Meetings like the one Biden held on Thursday have taken place in the past, said LaSalle. Typically the studios invite the activists to Hollywood, introduce them to some stars, and promise to review their ratings system, but warn that changes will take a few months. The activists go home and trumpet their success, he said. Months later when the activists realize that nothing has changed, they are too embarrassed to admit their failure.\u003c/p>\n\u003cp>So what’s LaSalle’s solution?\u003c/p>\n\u003cp>He’d like to see prominent politicians take a stand, not only introducing gun control legislation but also calling for less violence in films.\u003c/p>\n\u003cp>Actual legislation would be too much – LaSalle doesn’t want to see the government get into the business of editing movies – but he thinks a firm suggestion might help.\u003c/p>\n\u003cp>I called the office of California Sen. Dianne Feinstein. She has been the foremost advocate of gun control in the U.S. Senate, and I wanted to know if she had any plans to speak out on movie violence as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her spokesperson said she she’d call me back. I'll let you know if that happens.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Transcript: Glenn Greenwald, Mark Bowden Debate 'Zero Dark Thirty' Depiction of Torture",
"title": "Transcript: Glenn Greenwald, Mark Bowden Debate 'Zero Dark Thirty' Depiction of Torture",
"headTitle": "News Fix | KQED News",
"content": "\u003cfigure id=\"attachment_84724\" class=\"wp-caption alignright\" style=\"max-width: 225px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer.jpg\">\u003cimg class=\"size-medium wp-image-84724\" title=\"Zero Dark Thirty protester Andrew Stelzer\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A protester says 'Zero Dark Thirty' gives a wrong impression of torture. (Andrew Stelzer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The film \u003cem>Zero Dark Thirty, \u003c/em> about the hunt for Osama bin Laden, has been nominated for five Academy Awards, including \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\">Best Picture\u003c/a>. But the movie has also drawn a substantial amount of criticism, including from senators Dianne Feinstein and John McCain, for promoting what they say is the idea that torture played a role in locating bin Laden.\u003c/p>\n\u003cp>\u003ca href=\"http://www.guardian.co.uk/commentisfree/series/glenn-greenwald-security-liberty\" target=\"_blank\">Glenn Greenwald\u003c/a>, a columnist for The Guardian in the UK, and \u003ca href=\"http://www.theatlantic.com/mark-bowden\" target=\"_blank\">Mark Bowden\u003c/a>, a national correspondent for The Atlantic, debated the issue on KQED Public Radio's Forum program this week.\u003c/p>\n\u003cp>\u003cem>Edited transcript\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>GLENN GREENWALD\u003c/strong>: The film begins with a harrowing audiotape of people trapped inside buildings on 9/11, and that obviously makes the viewer very emotionally distraught—-rightfully so—-and then immediately leads to 45 minutes or so of the film overwhelmingly dominated by the CIA torturing helpless victims. So right away it’s manipulative in the sense that it begins its history with 9/11, making you very angry about what happened, and then immediately showing CIA agents torturing people, making clear that that’s the emotional and intellectual justification.\u003c/p>\n\u003cp>But the real problem is that the film shows that the key piece of information that led to the finding and killing of Osama bin Laden was extracted from a detainee who, for the first 45 minutes of the film, was brutally tortured. He then gave off the key bit of information, which was the identity of Osama bin Laden’s courier, which led the CIA to be able to find bin Laden when he was sitting at a table eating with two CIA agents who had spent the first 45 minutes of the film torturing him, and they then threatened to return him to torture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The line right before he gives up the key piece of information is “you can tell me what I want to know, or I can hang you back up to the ceiling.” And he then immediately coughs up the name of the courier that led them to bin Laden. So the key message that huge numbers of people—writers, journalists, politicians—who’ve seen this film received, and was intended to be conveyed, is that torture played a critical role in enabling the finding of bin Laden. That would be bothersome even if it were true; the fact that it’s a complete fabrication is what makes this film so reckless and disturbing. \u003c!--more-->\u003c/p>\n\u003cp>\u003cstrong>FORUM HOST MICHAEL KRASNY\u003c/strong>: What about the connection to the Central Intelligence Agency? In many respects, \u003ca href=\"http://www.guardian.co.uk/commentisfree/2012/dec/14/zero-dark-thirty-cia-propaganda\" target=\"_blank\">your article\u003c/a> seems to point out that there was, if not complicity, the CIA essentially creating a jingoistic potential script that simply enhances their narrative.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/a/forum/R201301080900\">\u003cstrong>Listen to the show\u003c/strong>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.guardian.co.uk/commentisfree/2012/dec/14/zero-dark-thirty-cia-propaganda\" target=\"_blank\">\u003cstrong>Zero Dark Thirty: CIA hagiography, pernicious propaganda\u003c/strong>\u003c/a> (Glenn Greenwald)\u003c/li>\n\u003cli>\u003ca href=\"http://www.theatlantic.com/entertainment/archive/2013/01/zero-dark-thirty-is-not-pro-torture/266759/\" target=\"_blank\">\u003cstrong>Zero Dark Thirty is Not Pro-Torture\u003c/strong>\u003c/a> (Mark Bowden)\u003c/li>\n\u003cli>\u003ca href=\"http://documents.latimes.com/feinstein-mccain-levin-statement-zero-dark-thirty/\" target=\"_blank\">\u003cstrong>Feinstein, McCain, Levin letter to Sony\u003c/strong>\u003c/a>\u003c/li>\u003c/ul>\u003c/aside>\n\u003cp>\u003cstrong>GREENWALD\u003c/strong>: I think this is the critical point. The film has received a lot of controversial attention because of the issue of how it falsely shows torture as valuable. To me, the even more disturbing part is that the film was made by having the filmmakers meet continuously with the CIA at a time that the Obama administration was saying to courts and to media outlets and activist groups we cannot release anymore information about the bin Laden raid because it’s classified.The CIA was then passing non-public information—possibly classified information—to the filmmakers, and the entire film is told from the CIA’s perspective; the CIA agents are heroes, everyone in the film, with almost no exception, who’s Arab or Muslim are shown as being evil, menacing, threatening, terrorists. There’s no ambiguity or moral debate about torture, about what the United States’s role in the world is doing.Mr. Bowden’s colleague at The Atlantic, Peter Maass, said that the most disturbing part of the film is that it's \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2012/12/dont-trust-zero-dark-thirty/266253/\" target=\"_blank\">essentially government-embedded moviemaking\u003c/a>; it’s the CIA using the power of Hollywood to propagandize the citizenry to see the world as the CIA wants them to see it.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: Mark Bowden had a different perspective He says this is Hollywood, that a lot of movies about the CIA in the post-Nixon era have been about evil and diabolical figures. That the fact of the matter is the CIA trips over a lot of things and doesn’t get the job done as far as getting to Abbottabad or getting on the trail of bin Laden for quite some time.\u003c/p>\n\u003cp>\u003cstrong>MARK BOWDEN\u003c/strong>: I think the film does accurately reflect a lot of the early failures of this process, and I think it makes a very clear point that, up until fairly late in the game, their efforts to find bin Laden were bearing no fruit whatsoever. In fact there’s a very strong scene right in the middle of the film where they get a visit to the embassy in Islamabad from a high-ranking CIA officer who upbraids the whole room full of people for failing, for not being able to get the job done. I’ve described some of the criticisms of this film as a willful misreading of it, and I think that would describe the version that Glenn has just given.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: What about Glenn’s argument here that there is a kind of cartoon-like portrayal not only of Muslims, and the idea that a lot of the story came down from the CIA, because there were clearly -- and Sen. Feinstein and others have asked for this to be investigated -- there were things that were drawn in the movie that showed the CIA’s point of view, that they were really responsible for what happened in Abbottabad?\u003c/p>\n\u003cp>\u003cstrong>BOWDEN\u003c/strong>: Well I think that’s true, and I think what they set out to do was to tell the story of how the CIA found Osama bin Laden, and if there are heroes and bad guys in a film—I think it’s true of almost any Hollywood film—the heroes in this case are imperfect CIA agents who nevertheless succeed in the end, and the bad guys are Islamist terrorists who are depicted primarily in that role.\u003c/p>\n\u003cp>So I think Glenn’s right; I mean, there’s not a lot of room in that piece of storytelling for presenting a broader picture of the Muslim world, but that’s the story that they told and I think they got it pretty right.\u003cbr>\n\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: And what about, Glenn Greenwald, the fact that the story does include torture? To make a script, to Hollywoodize it and put it in a certain timeframe and so forth, you have to compress things, you have to create characters sometimes that are one-dimensional and all that, but also you have to pretty much include torture in this because torture is part of the story...\u003c/p>\n\u003cp>\u003cstrong>GREENWALD\u003c/strong>: Sure. Nobody is bothered by the fact that torture was shown in the film. Torture did happen, it should have been shown in the film.\u003c/p>\n\u003cp>Where the problem is is that the way in which it was shown is a false history. This is what \u003ca href=\"http://www.newyorker.com/online/blogs/newsdesk/2012/12/torture-in-kathryn-bigelows-zero-dark-thirty.html\" target=\"_blank\">Jane Mayer in The New Yorker\u003c/a> said, who is probably the foremost journalistic expert on the Bush torture program. She said what is so unsettling about Dark Thirty is not that it tells this difficult history, but rather that it distorts it. And then she goes on to document in detail all the ways in which the claims this movie advances about the torture program are historically and demonstrably false.\u003c/p>\n\u003cp>This has been the criticism from people like \u003ca href=\"http://www.huffingtonpost.com/alex-gibney/zero-dark-thirty-torture_b_2345589.html\" target=\"_blank\">filmmaker Alex Gibney\u003c/a>, who won an Oscar for his documentary about the torture program; national security reporters from around the country; the Senators you mentioned who have access to the top secret information about the program. Nobody contests that torture should not have been included in this film—it was part of the history, there were people like Mr. Bowden and others who advocated and supported that program…it’s a part of history, it should be shown.\u003c/p>\n\u003cp>The problem is that it is completely fictitious in convincing huge numbers of people that torture was a key ingredient in enabling an event that huge numbers of Americans consider to be one of the greatest events in American history, which is the killing of Osama bin Laden, that will convince people to accept Mr. Bowden’s view that torture is sometimes productive and that it’s necessary and morally justifiable.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: What about the 6,000 page report that came out of the CIA's detention and interrogation program that confirms that the Bush/Cheney administration's program post-9/11 that embraced torture did not yield critical intelligence.\u003c/p>\n\u003cp>\u003cstrong>GREENWALD\u003c/strong>: Yeah the \u003ca href=\"http://documents.latimes.com/feinstein-mccain-levin-statement-zero-dark-thirty/\" target=\"_blank\">letter\u003c/a> is incredibly clear – I encourage everyone to read it, it’s an extraordinary letter to Sony – making clear that Zero Dark Thirty is factually inaccurate, and we believe you have an obligation to state that the role of torture in the hunt for Osama bin Laden is not based on the facts but rather part of the film’s fictional narrative.\u003c/p>\n\u003cp>I think the problem here -- and the senators cite this -- is that the director of the film, Kathryn Bigelow, and the screenwriter Mark Boal have been running around the country praising themselves for making not only a film but an act of journalism. Mark Boal said as a reporter I wanted to approach this topic as a journalist. The very first screen of the iflm after the audiotapes of 9/11 says this is based on first-hand accounts of actual events. So the film makes all kinds of journalistc claims to historical accuracy, but it’s actually a pile of falsehoods.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: How do you respond to that Mark Bowden?\u003c/p>\n\u003cp>\u003cstrong>BOWDEN\u003c/strong>: As I \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2013/01/zero-dark-thirty-is-not-pro-torture/266759/\" target=\"_blank\">wrote in the Atlantic,\u003c/a> the film does fictionalize the whole process of the hunt for bin Laden and like many Hollywood stories based on a true story it departs in a lot of particular instances from the record.\u003c/p>\n\u003cp>But I do think that the allegations that torture played no role in finding Osama bin Laden are wrong. I think the record shows – and I wrote a book on the subject – that the earliest mentions of Ahmed from Kuwait, the courier who eventually led us to bin Laden, came from some of the most notorious instances of coercive interrogation that we know about.The letter that Glenn refers to from Dianne Feinstein and others plays a kind of subtle, lawyerly game with the facts, but I don’t’ think there is much dispute over the facts at this point.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think there is a narrative that principled opponents of torture prefer but I don’t think that’s accurate.\n\n\u003c/p>\n",
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"description": "The film Zero Dark Thirty, about the hunt for Osama bin Laden, has been nominated for five Academy Awards, including Best Picture. But the movie has also drawn a substantial amount of criticism, including from senators Dianne Feinstein and John McCain, for promoting what they say is the idea that torture played a role in locating bin Laden. Glenn Greenwald, a columnist for The Guardian in the UK, and Mark Bowden, a national correspondent for The Atlantic, debated the issue on KQED Public Radio's Forum program this week.",
"title": "Transcript: Glenn Greenwald, Mark Bowden Debate 'Zero Dark Thirty' Depiction of Torture",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_84724\" class=\"wp-caption alignright\" style=\"max-width: 225px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer.jpg\">\u003cimg class=\"size-medium wp-image-84724\" title=\"Zero Dark Thirty protester Andrew Stelzer\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A protester says 'Zero Dark Thirty' gives a wrong impression of torture. (Andrew Stelzer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The film \u003cem>Zero Dark Thirty, \u003c/em> about the hunt for Osama bin Laden, has been nominated for five Academy Awards, including \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\">Best Picture\u003c/a>. But the movie has also drawn a substantial amount of criticism, including from senators Dianne Feinstein and John McCain, for promoting what they say is the idea that torture played a role in locating bin Laden.\u003c/p>\n\u003cp>\u003ca href=\"http://www.guardian.co.uk/commentisfree/series/glenn-greenwald-security-liberty\" target=\"_blank\">Glenn Greenwald\u003c/a>, a columnist for The Guardian in the UK, and \u003ca href=\"http://www.theatlantic.com/mark-bowden\" target=\"_blank\">Mark Bowden\u003c/a>, a national correspondent for The Atlantic, debated the issue on KQED Public Radio's Forum program this week.\u003c/p>\n\u003cp>\u003cem>Edited transcript\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>GLENN GREENWALD\u003c/strong>: The film begins with a harrowing audiotape of people trapped inside buildings on 9/11, and that obviously makes the viewer very emotionally distraught—-rightfully so—-and then immediately leads to 45 minutes or so of the film overwhelmingly dominated by the CIA torturing helpless victims. So right away it’s manipulative in the sense that it begins its history with 9/11, making you very angry about what happened, and then immediately showing CIA agents torturing people, making clear that that’s the emotional and intellectual justification.\u003c/p>\n\u003cp>But the real problem is that the film shows that the key piece of information that led to the finding and killing of Osama bin Laden was extracted from a detainee who, for the first 45 minutes of the film, was brutally tortured. He then gave off the key bit of information, which was the identity of Osama bin Laden’s courier, which led the CIA to be able to find bin Laden when he was sitting at a table eating with two CIA agents who had spent the first 45 minutes of the film torturing him, and they then threatened to return him to torture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The line right before he gives up the key piece of information is “you can tell me what I want to know, or I can hang you back up to the ceiling.” And he then immediately coughs up the name of the courier that led them to bin Laden. So the key message that huge numbers of people—writers, journalists, politicians—who’ve seen this film received, and was intended to be conveyed, is that torture played a critical role in enabling the finding of bin Laden. That would be bothersome even if it were true; the fact that it’s a complete fabrication is what makes this film so reckless and disturbing. \u003c!--more-->\u003c/p>\n\u003cp>\u003cstrong>FORUM HOST MICHAEL KRASNY\u003c/strong>: What about the connection to the Central Intelligence Agency? In many respects, \u003ca href=\"http://www.guardian.co.uk/commentisfree/2012/dec/14/zero-dark-thirty-cia-propaganda\" target=\"_blank\">your article\u003c/a> seems to point out that there was, if not complicity, the CIA essentially creating a jingoistic potential script that simply enhances their narrative.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/a/forum/R201301080900\">\u003cstrong>Listen to the show\u003c/strong>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.guardian.co.uk/commentisfree/2012/dec/14/zero-dark-thirty-cia-propaganda\" target=\"_blank\">\u003cstrong>Zero Dark Thirty: CIA hagiography, pernicious propaganda\u003c/strong>\u003c/a> (Glenn Greenwald)\u003c/li>\n\u003cli>\u003ca href=\"http://www.theatlantic.com/entertainment/archive/2013/01/zero-dark-thirty-is-not-pro-torture/266759/\" target=\"_blank\">\u003cstrong>Zero Dark Thirty is Not Pro-Torture\u003c/strong>\u003c/a> (Mark Bowden)\u003c/li>\n\u003cli>\u003ca href=\"http://documents.latimes.com/feinstein-mccain-levin-statement-zero-dark-thirty/\" target=\"_blank\">\u003cstrong>Feinstein, McCain, Levin letter to Sony\u003c/strong>\u003c/a>\u003c/li>\u003c/ul>\u003c/aside>\n\u003cp>\u003cstrong>GREENWALD\u003c/strong>: I think this is the critical point. The film has received a lot of controversial attention because of the issue of how it falsely shows torture as valuable. To me, the even more disturbing part is that the film was made by having the filmmakers meet continuously with the CIA at a time that the Obama administration was saying to courts and to media outlets and activist groups we cannot release anymore information about the bin Laden raid because it’s classified.The CIA was then passing non-public information—possibly classified information—to the filmmakers, and the entire film is told from the CIA’s perspective; the CIA agents are heroes, everyone in the film, with almost no exception, who’s Arab or Muslim are shown as being evil, menacing, threatening, terrorists. There’s no ambiguity or moral debate about torture, about what the United States’s role in the world is doing.Mr. Bowden’s colleague at The Atlantic, Peter Maass, said that the most disturbing part of the film is that it's \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2012/12/dont-trust-zero-dark-thirty/266253/\" target=\"_blank\">essentially government-embedded moviemaking\u003c/a>; it’s the CIA using the power of Hollywood to propagandize the citizenry to see the world as the CIA wants them to see it.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: Mark Bowden had a different perspective He says this is Hollywood, that a lot of movies about the CIA in the post-Nixon era have been about evil and diabolical figures. That the fact of the matter is the CIA trips over a lot of things and doesn’t get the job done as far as getting to Abbottabad or getting on the trail of bin Laden for quite some time.\u003c/p>\n\u003cp>\u003cstrong>MARK BOWDEN\u003c/strong>: I think the film does accurately reflect a lot of the early failures of this process, and I think it makes a very clear point that, up until fairly late in the game, their efforts to find bin Laden were bearing no fruit whatsoever. In fact there’s a very strong scene right in the middle of the film where they get a visit to the embassy in Islamabad from a high-ranking CIA officer who upbraids the whole room full of people for failing, for not being able to get the job done. I’ve described some of the criticisms of this film as a willful misreading of it, and I think that would describe the version that Glenn has just given.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: What about Glenn’s argument here that there is a kind of cartoon-like portrayal not only of Muslims, and the idea that a lot of the story came down from the CIA, because there were clearly -- and Sen. Feinstein and others have asked for this to be investigated -- there were things that were drawn in the movie that showed the CIA’s point of view, that they were really responsible for what happened in Abbottabad?\u003c/p>\n\u003cp>\u003cstrong>BOWDEN\u003c/strong>: Well I think that’s true, and I think what they set out to do was to tell the story of how the CIA found Osama bin Laden, and if there are heroes and bad guys in a film—I think it’s true of almost any Hollywood film—the heroes in this case are imperfect CIA agents who nevertheless succeed in the end, and the bad guys are Islamist terrorists who are depicted primarily in that role.\u003c/p>\n\u003cp>So I think Glenn’s right; I mean, there’s not a lot of room in that piece of storytelling for presenting a broader picture of the Muslim world, but that’s the story that they told and I think they got it pretty right.\u003cbr>\n\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: And what about, Glenn Greenwald, the fact that the story does include torture? To make a script, to Hollywoodize it and put it in a certain timeframe and so forth, you have to compress things, you have to create characters sometimes that are one-dimensional and all that, but also you have to pretty much include torture in this because torture is part of the story...\u003c/p>\n\u003cp>\u003cstrong>GREENWALD\u003c/strong>: Sure. Nobody is bothered by the fact that torture was shown in the film. Torture did happen, it should have been shown in the film.\u003c/p>\n\u003cp>Where the problem is is that the way in which it was shown is a false history. This is what \u003ca href=\"http://www.newyorker.com/online/blogs/newsdesk/2012/12/torture-in-kathryn-bigelows-zero-dark-thirty.html\" target=\"_blank\">Jane Mayer in The New Yorker\u003c/a> said, who is probably the foremost journalistic expert on the Bush torture program. She said what is so unsettling about Dark Thirty is not that it tells this difficult history, but rather that it distorts it. And then she goes on to document in detail all the ways in which the claims this movie advances about the torture program are historically and demonstrably false.\u003c/p>\n\u003cp>This has been the criticism from people like \u003ca href=\"http://www.huffingtonpost.com/alex-gibney/zero-dark-thirty-torture_b_2345589.html\" target=\"_blank\">filmmaker Alex Gibney\u003c/a>, who won an Oscar for his documentary about the torture program; national security reporters from around the country; the Senators you mentioned who have access to the top secret information about the program. Nobody contests that torture should not have been included in this film—it was part of the history, there were people like Mr. Bowden and others who advocated and supported that program…it’s a part of history, it should be shown.\u003c/p>\n\u003cp>The problem is that it is completely fictitious in convincing huge numbers of people that torture was a key ingredient in enabling an event that huge numbers of Americans consider to be one of the greatest events in American history, which is the killing of Osama bin Laden, that will convince people to accept Mr. Bowden’s view that torture is sometimes productive and that it’s necessary and morally justifiable.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: What about the 6,000 page report that came out of the CIA's detention and interrogation program that confirms that the Bush/Cheney administration's program post-9/11 that embraced torture did not yield critical intelligence.\u003c/p>\n\u003cp>\u003cstrong>GREENWALD\u003c/strong>: Yeah the \u003ca href=\"http://documents.latimes.com/feinstein-mccain-levin-statement-zero-dark-thirty/\" target=\"_blank\">letter\u003c/a> is incredibly clear – I encourage everyone to read it, it’s an extraordinary letter to Sony – making clear that Zero Dark Thirty is factually inaccurate, and we believe you have an obligation to state that the role of torture in the hunt for Osama bin Laden is not based on the facts but rather part of the film’s fictional narrative.\u003c/p>\n\u003cp>I think the problem here -- and the senators cite this -- is that the director of the film, Kathryn Bigelow, and the screenwriter Mark Boal have been running around the country praising themselves for making not only a film but an act of journalism. Mark Boal said as a reporter I wanted to approach this topic as a journalist. The very first screen of the iflm after the audiotapes of 9/11 says this is based on first-hand accounts of actual events. So the film makes all kinds of journalistc claims to historical accuracy, but it’s actually a pile of falsehoods.\u003c/p>\n\u003cp>\u003cstrong>KRASNY\u003c/strong>: How do you respond to that Mark Bowden?\u003c/p>\n\u003cp>\u003cstrong>BOWDEN\u003c/strong>: As I \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2013/01/zero-dark-thirty-is-not-pro-torture/266759/\" target=\"_blank\">wrote in the Atlantic,\u003c/a> the film does fictionalize the whole process of the hunt for bin Laden and like many Hollywood stories based on a true story it departs in a lot of particular instances from the record.\u003c/p>\n\u003cp>But I do think that the allegations that torture played no role in finding Osama bin Laden are wrong. I think the record shows – and I wrote a book on the subject – that the earliest mentions of Ahmed from Kuwait, the courier who eventually led us to bin Laden, came from some of the most notorious instances of coercive interrogation that we know about.The letter that Glenn refers to from Dianne Feinstein and others plays a kind of subtle, lawyerly game with the facts, but I don’t’ think there is much dispute over the facts at this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It happened with news. It happened with financing. Now a ballet company in Walnut Creek is crowdsourcing its choreography.\u003c/p>\n\u003cp>In a process it dubs the \"world's first web ballet,\" \u003ca href=\"http://www.diabloballet.org/performance.html\">Diablo Ballet\u003c/a> is taking suggestions starting Tuesday for a new ballet, via \u003ca href=\"https://twitter.com/DiabloBallet\">Twitter\u003c/a>.\u003c/p>\n\u003cp>Participants can cast votes for one of \u003ca href=\"http://www.youtube.com/user/DiabloBallet\">three choices of music\u003c/a> and can suggest the mood of the work, the emotions of the dancers, or different dance moves to include.\u003c/p>\n\u003cp>Here's the \u003ca href=\"http://www.youtube.com/watch?v=HfRuqOeRsTE&feature=player_embedded\" target=\"_blank\">video\u003c/a> the company created to promote its project:\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/HfRuqOeRsTE?rel=0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>Dancer and choregrapher Robert Dekkers will turn the best of those ideas into a new production. \"So what I'm hoping to do is take limitations if you will, choreographic ideas from a bunch of different people, and use them and then its my responsibility to make it good still,\" he told KQED's Cy Musiker.\u003c/p>\n\u003cp>Suggestions should have the hashtag #DiabloWebBallet.\u003c/p>\n\u003cp>The deadline is Valentine's Day, and the new dance will be performed March 1 and 2 at the Shadelands Arts Center Auditorium in Walnut Creek.\u003c/p>\n\u003cp>Suggestions so far have varied widely, with one tweet suggesting a Mary Poppins ballet and another calling for something based on Led Zeppelin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here's a taste of how the conversation is going:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> Someone has to be in high heels the enter time. \u003ca href=\"https://twitter.com/search/%23diablowebballet\">#diablowebballet\u003c/a>\u003c/p>\n\u003cp>— Christian (@chrs7186) \u003ca href=\"https://twitter.com/chrs7186/status/288703613503668224\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> Mood: Lighthearted -- Tired of all the angst all the time. \u003ca href=\"https://twitter.com/search/%23DiabloWebBallet\">#DiabloWebBallet\u003c/a>\u003c/p>\n\u003cp>— Geri Jeter (@GeriJeter) \u003ca href=\"https://twitter.com/GeriJeter/status/288545504147685376\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> rigid and angular movements could work \u003ca href=\"https://twitter.com/search/%23DiabloWebBallet\">#DiabloWebBallet\u003c/a>\u003c/p>\n\u003cp>— Amanda Moonfire Lim (@amalimrock) \u003ca href=\"https://twitter.com/amalimrock/status/288726629130305536\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>.@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> Dance moves: consecutive leaps on a downstage diagonal \u003ca href=\"https://twitter.com/search/%23DiabloWebBallet\">#DiabloWebBallet\u003c/a>\u003c/p>\n\u003cp>— Haley Gonella (@cometgonegreen) \u003ca href=\"https://twitter.com/cometgonegreen/status/288709149947203587\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It happened with news. It happened with financing. Now a ballet company in Walnut Creek is crowdsourcing its choreography.\u003c/p>\n\u003cp>In a process it dubs the \"world's first web ballet,\" \u003ca href=\"http://www.diabloballet.org/performance.html\">Diablo Ballet\u003c/a> is taking suggestions starting Tuesday for a new ballet, via \u003ca href=\"https://twitter.com/DiabloBallet\">Twitter\u003c/a>.\u003c/p>\n\u003cp>Participants can cast votes for one of \u003ca href=\"http://www.youtube.com/user/DiabloBallet\">three choices of music\u003c/a> and can suggest the mood of the work, the emotions of the dancers, or different dance moves to include.\u003c/p>\n\u003cp>Here's the \u003ca href=\"http://www.youtube.com/watch?v=HfRuqOeRsTE&feature=player_embedded\" target=\"_blank\">video\u003c/a> the company created to promote its project:\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/HfRuqOeRsTE?rel=0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>Dancer and choregrapher Robert Dekkers will turn the best of those ideas into a new production. \"So what I'm hoping to do is take limitations if you will, choreographic ideas from a bunch of different people, and use them and then its my responsibility to make it good still,\" he told KQED's Cy Musiker.\u003c/p>\n\u003cp>Suggestions should have the hashtag #DiabloWebBallet.\u003c/p>\n\u003cp>The deadline is Valentine's Day, and the new dance will be performed March 1 and 2 at the Shadelands Arts Center Auditorium in Walnut Creek.\u003c/p>\n\u003cp>Suggestions so far have varied widely, with one tweet suggesting a Mary Poppins ballet and another calling for something based on Led Zeppelin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here's a taste of how the conversation is going:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> Someone has to be in high heels the enter time. \u003ca href=\"https://twitter.com/search/%23diablowebballet\">#diablowebballet\u003c/a>\u003c/p>\n\u003cp>— Christian (@chrs7186) \u003ca href=\"https://twitter.com/chrs7186/status/288703613503668224\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> Mood: Lighthearted -- Tired of all the angst all the time. \u003ca href=\"https://twitter.com/search/%23DiabloWebBallet\">#DiabloWebBallet\u003c/a>\u003c/p>\n\u003cp>— Geri Jeter (@GeriJeter) \u003ca href=\"https://twitter.com/GeriJeter/status/288545504147685376\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> rigid and angular movements could work \u003ca href=\"https://twitter.com/search/%23DiabloWebBallet\">#DiabloWebBallet\u003c/a>\u003c/p>\n\u003cp>— Amanda Moonfire Lim (@amalimrock) \u003ca href=\"https://twitter.com/amalimrock/status/288726629130305536\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\u003cp>.@\u003ca href=\"https://twitter.com/diabloballet\">diabloballet\u003c/a> Dance moves: consecutive leaps on a downstage diagonal \u003ca href=\"https://twitter.com/search/%23DiabloWebBallet\">#DiabloWebBallet\u003c/a>\u003c/p>\n\u003cp>— Haley Gonella (@cometgonegreen) \u003ca href=\"https://twitter.com/cometgonegreen/status/288709149947203587\">January 8, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_85002\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/huell2.jpeg\">\u003cimg class=\"size-full wp-image-85002\" title=\"Huell Howser meets fans in Los Angeles in 2010. Photo by Hane C. Lee/Flickr.\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/huell2.jpeg\" alt=\"Huell Howser meets fans in Los Angeles in 2010. Photo by Hane C. Lee/Flickr.\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Huell Howser meets fans in Los Angeles in 2010. Photo by Hane C. Lee/Flickr.\u003c/figcaption>\u003c/figure>\n\u003cp>Generally, Californians reacted in one of two ways to Monday's announcement that \u003ca href=\"http://ww2.kqed.org/news/2013/01/07/reports-huell-howser-has-died/\">Huell Howser had died\u003c/a>. Many Golden State natives and longtime residents were saddened by the void it leaves in California pop culture.\u003c/p>\n\u003cp>Then there was this reaction: \"Who's Huell Howser?\"\u003c/p>\n\u003cp>Well, Howser was a California television legend. For about 20 years he traveled the state with his handheld microphone to shed light on the places we might visit on day trips or family vacations. Howser bathed in the glow of the 100-plus-year-old lightbulb in Livermore, searched for the \"Tree Circus\" near Gilroy and reminisced with chicken farmers in Petaluma. A native of Tennessee, he bubbled over with excitement at that which we might consider mundane; Howser is remembered for exclamations like \"This is AMAZING!\"\u003c/p>\n\u003cp>His enthusiastic interviews and profiles aired on programs like \"California's Gold,\" which you can still watch in reruns on public television and \u003ca href=\"http://www.youtube.com/results?search_query=california's+gold&page=&utm_source=opensearch\">online\u003c/a>. Howser retired from television late last year.\u003c/p>\n\u003cp>We've put together a YouTube playlist for those who aren't familiar with Howser as well as those who will remember him fondly for his pride in California. The playlist includes videos suggested by commenters on our \u003ca href=\"http://ww2.kqed.org/news/2013/01/07/reports-huell-howser-has-died/\">post\u003c/a> Monday about Howser's death. \u003c!--more-->\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy.\u003c/p>\n\u003cp>\u003cstrong>HUELL HOWSER FAN FAVORITES\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe title=\"The Best of Huell Howser: Viewers' Picks\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/videoseries?list=PLCxtKFQXBuRhpNm8v-5zRvB1jNo7R2sIf\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_85002\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/huell2.jpeg\">\u003cimg class=\"size-full wp-image-85002\" title=\"Huell Howser meets fans in Los Angeles in 2010. Photo by Hane C. Lee/Flickr.\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/huell2.jpeg\" alt=\"Huell Howser meets fans in Los Angeles in 2010. Photo by Hane C. Lee/Flickr.\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Huell Howser meets fans in Los Angeles in 2010. Photo by Hane C. Lee/Flickr.\u003c/figcaption>\u003c/figure>\n\u003cp>Generally, Californians reacted in one of two ways to Monday's announcement that \u003ca href=\"http://ww2.kqed.org/news/2013/01/07/reports-huell-howser-has-died/\">Huell Howser had died\u003c/a>. Many Golden State natives and longtime residents were saddened by the void it leaves in California pop culture.\u003c/p>\n\u003cp>Then there was this reaction: \"Who's Huell Howser?\"\u003c/p>\n\u003cp>Well, Howser was a California television legend. For about 20 years he traveled the state with his handheld microphone to shed light on the places we might visit on day trips or family vacations. Howser bathed in the glow of the 100-plus-year-old lightbulb in Livermore, searched for the \"Tree Circus\" near Gilroy and reminisced with chicken farmers in Petaluma. A native of Tennessee, he bubbled over with excitement at that which we might consider mundane; Howser is remembered for exclamations like \"This is AMAZING!\"\u003c/p>\n\u003cp>His enthusiastic interviews and profiles aired on programs like \"California's Gold,\" which you can still watch in reruns on public television and \u003ca href=\"http://www.youtube.com/results?search_query=california's+gold&page=&utm_source=opensearch\">online\u003c/a>. Howser retired from television late last year.\u003c/p>\n\u003cp>We've put together a YouTube playlist for those who aren't familiar with Howser as well as those who will remember him fondly for his pride in California. The playlist includes videos suggested by commenters on our \u003ca href=\"http://ww2.kqed.org/news/2013/01/07/reports-huell-howser-has-died/\">post\u003c/a> Monday about Howser's death. \u003c!--more-->\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'Zero Dark Thirty' Protesters Say It Glorifies Torture",
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"content": "\u003cp>Osama bin Laden may be dead, but the controversy over his pursuit has never been more alive.\u003c/p>\n\u003cfigure id=\"attachment_84724\" class=\"wp-caption alignright\" style=\"max-width: 225px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer.jpg\">\u003cimg class=\"size-medium wp-image-84724\" title=\"Zero Dark Thirty protester Andrew Stelzer\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A protester says \"Zero Dark Thirty\" gives a wrong impression of torture. (Andrew Stelzer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Protests are springing up against the film \"Zero Dark Thirty,\" which opened in 25 cities on Friday, including Emeryville. Demonstrators outside a theater there warned that it inaccurately depicts torture as a helpful tool in hunting down the Al Qaeda leader.\u003c/p>\n\u003cp>California Sen. Dianne Feinstein has waded into the controversy as well, demanding that the CIA account for the way it influenced the film.\u003c/p>\n\u003cp>Here's how \u003ca href=\"http://www.guardian.co.uk/commentisfree/2012/dec/14/zero-dark-thirty-cia-propaganda\">Guardian columnist Glenn Greenwald\u003c/a>, who has been engaged in an online debate over the film, describes his main objections:\u003c/p>\n\u003cblockquote>\u003cp>It immediately goes from its emotionally exploitative start - harrowing audio tapes of 9/11 victims crying for help - into CIA torture sessions of Muslim terrorists that take up a good portion of the film's first forty-five minutes. The key evidence - the identity of bin Laden's courier - is revealed only after a detainee is brutally and repeatedly abused.\u003c/p>\u003c/blockquote>\n\u003cp>According to Feinstein's \u003ca href=\"http://www.feinstein.senate.gov/public/index.cfm/press-releases?ID=0d4e72c7-361a-4271-922f-6e2ccaa3f609\">media release\u003c/a>, it just didn't happen that way:\u003c!--more-->\u003c/p>\n\u003cblockquote>\u003cp>The Senate Intelligence Committee’s recently-adopted Study of the CIA’s Detention and Interrogation program concluded that the CIA did not first learn about the existence of the bin Laden courier from CIA detainees subjected to coercive interrogation techniques and that the CIA detainee who provided the most accurate information about the courier provided the information prior to being subjected to coercive interrogation techniques.\u003c/p>\u003c/blockquote>\n\u003cp>Feinstein, who chairs the Senate Intelligence Committee, and Senate Armed Service Committee Chairman Carl Levin (D-Mich.) and Senate Armed Service Committee Ranking Member John McCain (R-Ariz.) are asking the CIA to to document how the agency communicated with the filmmakers and its own employees about the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Emeryville Friday afternoon, a man dressed in an orange jumpsuit and a black hood over his head was chained to a sign reading\"‘Don’t Buy CIA Lies!” Meanwhile half a dozen people handed out fliers.\u003c/p>\n\u003cp>“When you see it, realize that it’s full of lies.” protester Mary Ann Thomas told KQED's Andrew Stelzer.\u003c/p>\n\u003cp>But on his way in to see the film, Nathan Jongewaard said he wasn't concerned. “I think that audiences are intelligent enough to understand that a Hollywood movie is not gonna depict an absolute truth.”\u003c/p>\n\u003cp>The controversy is particularly lively because the filmmakers have made unusual claims about its authenticity. In an \u003ca href=\"http://www.newyorker.com/talk/2012/12/17/121217ta_talk_filkins\">interview with The New Yorker magazine\u003c/a>, director Kathryn Bigelow, who was born in San Carlos and graduated from the San Francisco Art Institute, said she was striving for realism. \"What we were attempting is almost a journalistic approach to film,\" she reportedly said. The film opens with the words \"based on first-hand accounts of actual events.\"\u003c/p>\n\u003cp>When The New Yorker writer challenged her about the information leading to the courier, however, Bigelow said, \"It’s a movie, not a documentary.\"\u003c/p>\n\u003cp>In this video, two actors from the film, Jessica Chastain and Jason Clarke, argue that the film does not depict torture as helpful in the bin Laden hunt, notably because the captive discloses the courier's identity during a meal rather than while being tortured:\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/hDHLzt_MZ84?rel=0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cp>Some critics agree, including Andrew Sullivan \u003ca href=\"http://andrewsullivan.thedailybeast.com/2012/12/the-torture-narrative.html\">writing in the Daily Beast\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>...the movie is not an apology for torture, as so many have said, and as I have worried about. It is an exposure of torture. It removes any doubt that war criminals ran this country for seven years and remain at large, while they scapegoated the grunts at Abu Ghraib who were, yes, merely following their superior's own orders.\u003c/p>\n\u003cp>So why include the torture at all? The breakthroughs to finding bin Laden in the movie come from traditional interrogation and intelligence. I think it reveals the core truth behind Cheney's armchair warrior mindset. The torture was not for intelligence (and it provided nothing reliable as well as countless leads that were dead ends). It was for revenge.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Osama bin Laden may be dead, but the controversy over his pursuit has never been more alive.\u003c/p>\n\u003cfigure id=\"attachment_84724\" class=\"wp-caption alignright\" style=\"max-width: 225px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer.jpg\">\u003cimg class=\"size-medium wp-image-84724\" title=\"Zero Dark Thirty protester Andrew Stelzer\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Zero-Dark-Thirty-protester-Andrew-Stelzer-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A protester says \"Zero Dark Thirty\" gives a wrong impression of torture. (Andrew Stelzer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Protests are springing up against the film \"Zero Dark Thirty,\" which opened in 25 cities on Friday, including Emeryville. Demonstrators outside a theater there warned that it inaccurately depicts torture as a helpful tool in hunting down the Al Qaeda leader.\u003c/p>\n\u003cp>California Sen. Dianne Feinstein has waded into the controversy as well, demanding that the CIA account for the way it influenced the film.\u003c/p>\n\u003cp>Here's how \u003ca href=\"http://www.guardian.co.uk/commentisfree/2012/dec/14/zero-dark-thirty-cia-propaganda\">Guardian columnist Glenn Greenwald\u003c/a>, who has been engaged in an online debate over the film, describes his main objections:\u003c/p>\n\u003cblockquote>\u003cp>It immediately goes from its emotionally exploitative start - harrowing audio tapes of 9/11 victims crying for help - into CIA torture sessions of Muslim terrorists that take up a good portion of the film's first forty-five minutes. The key evidence - the identity of bin Laden's courier - is revealed only after a detainee is brutally and repeatedly abused.\u003c/p>\u003c/blockquote>\n\u003cp>According to Feinstein's \u003ca href=\"http://www.feinstein.senate.gov/public/index.cfm/press-releases?ID=0d4e72c7-361a-4271-922f-6e2ccaa3f609\">media release\u003c/a>, it just didn't happen that way:\u003c!--more-->\u003c/p>\n\u003cblockquote>\u003cp>The Senate Intelligence Committee’s recently-adopted Study of the CIA’s Detention and Interrogation program concluded that the CIA did not first learn about the existence of the bin Laden courier from CIA detainees subjected to coercive interrogation techniques and that the CIA detainee who provided the most accurate information about the courier provided the information prior to being subjected to coercive interrogation techniques.\u003c/p>\u003c/blockquote>\n\u003cp>Feinstein, who chairs the Senate Intelligence Committee, and Senate Armed Service Committee Chairman Carl Levin (D-Mich.) and Senate Armed Service Committee Ranking Member John McCain (R-Ariz.) are asking the CIA to to document how the agency communicated with the filmmakers and its own employees about the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Emeryville Friday afternoon, a man dressed in an orange jumpsuit and a black hood over his head was chained to a sign reading\"‘Don’t Buy CIA Lies!” Meanwhile half a dozen people handed out fliers.\u003c/p>\n\u003cp>“When you see it, realize that it’s full of lies.” protester Mary Ann Thomas told KQED's Andrew Stelzer.\u003c/p>\n\u003cp>But on his way in to see the film, Nathan Jongewaard said he wasn't concerned. “I think that audiences are intelligent enough to understand that a Hollywood movie is not gonna depict an absolute truth.”\u003c/p>\n\u003cp>The controversy is particularly lively because the filmmakers have made unusual claims about its authenticity. In an \u003ca href=\"http://www.newyorker.com/talk/2012/12/17/121217ta_talk_filkins\">interview with The New Yorker magazine\u003c/a>, director Kathryn Bigelow, who was born in San Carlos and graduated from the San Francisco Art Institute, said she was striving for realism. \"What we were attempting is almost a journalistic approach to film,\" she reportedly said. The film opens with the words \"based on first-hand accounts of actual events.\"\u003c/p>\n\u003cp>When The New Yorker writer challenged her about the information leading to the courier, however, Bigelow said, \"It’s a movie, not a documentary.\"\u003c/p>\n\u003cp>In this video, two actors from the film, Jessica Chastain and Jason Clarke, argue that the film does not depict torture as helpful in the bin Laden hunt, notably because the captive discloses the courier's identity during a meal rather than while being tortured:\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/hDHLzt_MZ84?rel=0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cp>Some critics agree, including Andrew Sullivan \u003ca href=\"http://andrewsullivan.thedailybeast.com/2012/12/the-torture-narrative.html\">writing in the Daily Beast\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>...the movie is not an apology for torture, as so many have said, and as I have worried about. It is an exposure of torture. It removes any doubt that war criminals ran this country for seven years and remain at large, while they scapegoated the grunts at Abu Ghraib who were, yes, merely following their superior's own orders.\u003c/p>\n\u003cp>So why include the torture at all? The breakthroughs to finding bin Laden in the movie come from traditional interrogation and intelligence. I think it reveals the core truth behind Cheney's armchair warrior mindset. The torture was not for intelligence (and it provided nothing reliable as well as countless leads that were dead ends). It was for revenge.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "News Pix: Best Images of 2012",
"title": "News Pix: Best Images of 2012",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>It's been an eventful year in the Bay Area. There were big protests, incredible views, intriguing wildlife, a World Series title, environmental disasters and many touching moments in the diverse communities that call this place home. Here are some of our favorite images from 2012...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MarchStorms.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84573\" title=\"PhotoWeek130104MarchStorms\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MarchStorms.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>March saw a fair amount of rain. Berkeley’s creeks ran high and the early spring skyscapes were often beautiful to behold. (Joe Parks/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Prop8.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84574\" title=\"PhotoWeek130104Prop8\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Prop8.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>The 9th Circuit Court of Appeals on Feb. 7 upheld Judge Vaughn Walker's \u003ca href=\"http://ww2.kqed.org/news/2012/02/07/prop-8-appeals-court-decision/\">ruling that invalidated Proposition 8\u003c/a>, California's same-sex marriage ban. The federal appeals court declared the ban to be unconstitutional, paving the way for a U.S. Supreme Court showdown on the voter-approved law. (Don Clyde/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003c!--more-->\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OwlChick.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84578\" title=\"PhotoWeek130104OwlChick\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OwlChick.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>In April, a Great Horned Owl \u003ca href=\"http://www.berkeleyside.com/2012/04/26/berkeley-owl-chick-will-soon-branch-out-says-expert/\">made its nest in the crotch of a Eucalyptus tree\u003c/a> on Berkeley’s Claremont Canyon fire trail. The arrival of a chick was a source of fascination for many bird-loving hikers and photographers. (Lee Aurich/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MayDay.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84582\" title=\"PhotoWeek130104MayDay\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MayDay.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/2012/05/01/bay-area-may-day-protests/\">Protesters turned out in force on May Day in the Bay Area\u003c/a>. The day began with protests at ferry terminals throughout the Bay as part of a labor action by workers in a dispute over health care. A planned protest aimed at shutting down the Golden Gate Bridge was called off. In Oakland, 3-5,000 protesters skirmished with police, who used tear gas. In San Francisco, protesters marched and took over a building at 888 Turk. (Don Clyde/KQED)\u003c/em>\u003cbr>\n\u003c!--more-->\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OccupyArt.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84583\" title=\"PhotoWeek130104OccupyArt\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OccupyArt.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Yerba Buena Center for the Arts presented \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=101468\">Occupy Bay Area, an exhibition of \"visual culture\" from Occupy encampments\u003c/a> around the Bay Area. Though the show made perfect sense to artists and other cultural producers, it was considered a bold move to some who questioned whether the exhibition created a kind of \"instant history.\" (Artwork by Eric Drooker; courtesy of the artist and YBCA)\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EclipseGlass.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84594\" title=\"PhotoWeek130104EclipseGlass\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EclipseGlass.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Watching the \u003ca href=\"http://www.berkeleyside.com/2012/05/21/berkeleyans-come-out-in-force-to-view-eclipse-of-the-sun/\">partial eclipse of the sun\u003c/a> on the afternoon of Sunday, May 20 at the Lawrence Hall of Science. (Elazar Sontag/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Pika.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84584\" title=\"PhotoWeek130104Pika\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Pika.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>The American pika is a squeaky little animal that lives at high elevations in mountains in the West. It could one day have a huge \u003ca href=\"http://blogs.kqed.org/climatewatch/tag/pika/\" target=\"_blank\">influence on the battle over climate change\u003c/a>. And a \u003ca href=\"http://science.kqed.org/quest/audio/counting-climate-challenged-pikas/\">new program is enlisting students to help scientists\u003c/a> learn more about the critters. (Craig Miller/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104quarry.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84588\" title=\"PhotoWeek130104quarry\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104quarry.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/2012/12/05/how-silicon-valley-wants-to-pay-for-flood-protection/\">Sea level rise could one day inundate\u003c/a> industrial, commercial and residential areas all along the Bay, from this rock quarry in the North Bay to companies in Silicon Valley and neighborhoods in San Jose. (Molly Samuel/KQED/aerial support from LightHawk)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104redwoods.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84591\" title=\"PhotoWeek130104redwoods\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104redwoods.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>The State Parks Department threatened to close 70 parks following budget cuts. Anderson Valley residents said Hendy Woods is an important part of their economy and gathered at \"\u003ca href=\"http://www.californiareport.org/archive/R201203060850/b\">Occupy Hendy Woods\u003c/a>\" to discuss how to keep the park open. In July, it was revealed that the department was \u003ca href=\"http://ww2.kqed.org/news/2012/07/20/state-parks-chief-resigns-agency-found-sitting-on-54-million/\" target=\"_blank\">sitting on a $54 million surplus\u003c/a>. In the end, no parks were closed in 2012. (Molly Samuel/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104ChevronFire.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84593\" title=\"PhotoWeek130104ChevronFire\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104ChevronFire.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Berkeleyans had front row seats to a\u003ca href=\"http://www.berkeleyside.com/2012/08/06/chevron-officials-want-east-bay-residents-including-berkeleyans-to-stay-indoors/\"> fire that erupted at the Chevron refinery in Richmond\u003c/a> on Aug. 6. More than 80 firefighters spent five hours battling the blaze, which prompted shelter-in-place orders for an estimated 160,000 local residents. (Jef Poskanzer/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EndeavorSkyl.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84596\" title=\"PhotoWeek130104EndeavorSkyl\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EndeavorSkyl.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>On Sept. 21 Berkeleyans in the thousands turned out to see the space shuttle Endeavour, carried on a specially adapted NASA 747, fly just over the city’s rooftops and the Bay. Many gathered at vista points in the hills, including Grizzly Peak Drive, Inspiration Point, and the Lawrence Hall of Science, while others looked open-mouthed from sidewalks, school playgrounds and the bleachers at Berkeley High. (Alan Tobey/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026RomoShrine.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84590\" title=\"PhotoWeek121026RomoShrine\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026RomoShrine.jpg\" alt=\"\" width=\"640\" height=\"450\">\u003c/a>\u003cem>Frank and Leticia Romo's \u003ca href=\"http://ww2.kqed.org/news/2012/10/24/in-sergio-romos-small-hometown-no-1-crop-is-pro-baseball-players/\">shrine to their son Sergio's baseball career\u003c/a> in his childhood bedroom in Brawley, California. About 25,000 people live in this farm town, out in the desert scrubland. There's no big college, no stadium, but the town has sent a bumper crop of 21 players to the major and minor leagues. (Marcus Teply/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104vetday.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84592\" title=\"PhotoWeek130104vetday\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104vetday.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Six-year-old Aubrey Bown places a red carnation to honor her uncle, James Suh, a U.S. Navy SEAL who was shot down in Korangal Valley, Afghanistan. \u003ca href=\"http://peninsulapress.com/2012/11/12/silicon-valley-honors-veterans-photos/\">Cupertino hosted the annual Veterans Day ceremony\u003c/a> at Memorial Park. (Anna Li/\u003ca href=\"http://peninsulapress.com/\">Peninsula Press\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104JeffTedford.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84595\" title=\"PhotoWeek130104JeffTedford\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104JeffTedford.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Jeff Tedford, head coach of the Cal Golden Bears football team since 2002, was \u003ca href=\"http://www.berkeleyside.com/2012/11/20/cal-football-coach-jeff-tedford-sacked-after-3-9-season/\">fired on Nov. 20 after a 3-9 season\u003c/a> and a combined 15-22 record over the last three years. Tedford's total pay in 2011 was almost $2.9 million. (Joe Parks/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026homelessness.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84589\" title=\"PhotoWeek121026homelessness\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026homelessness.jpg\" alt=\"\" width=\"640\" height=\"450\">\u003c/a>\u003cem>A homeless man amid his belongings in the alleyway where he lives in Berkeley. (Anna Vignet /\u003ca href=\"http://sfpublicpress.org/\">San Francisco Public Press\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003cem>This photo is part of a photo essay on homelessness entitled \"Architecture of Homelessness.\" The photographer's statement on the project is included below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Initiatives to help San Francisco’s homeless find shelter, jobs or medical treatment remain controversial. One recent law, the “sit-lie” ordinance, made it illegal to sit or lie down on city sidewalks. Some homeless people say this law takes away their right to dwell freely — essentially the right to be alive. How does one build a place of one’s own in a city where other opportunities are not available? We all have the need to create a sense of home, even in extreme circumstances. In these photos, the lines between public and private, urban and domestic, blur. They reveal the architecture of homelessness, and contribute to the understanding of a displaced people who make their own spaces.\u003c/p>\n\n",
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"description": "It's been an eventful year in the Bay Area. There were big protests, incredible views, intriguing wildlife, a World Series title, environmental disasters and many touching moments in the diverse communities that call this place home. Here are some of our favorite images from 2012... March saw a fair amount of rain. Berkeley’s creeks ran",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's been an eventful year in the Bay Area. There were big protests, incredible views, intriguing wildlife, a World Series title, environmental disasters and many touching moments in the diverse communities that call this place home. Here are some of our favorite images from 2012...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MarchStorms.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84573\" title=\"PhotoWeek130104MarchStorms\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MarchStorms.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>March saw a fair amount of rain. Berkeley’s creeks ran high and the early spring skyscapes were often beautiful to behold. (Joe Parks/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Prop8.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84574\" title=\"PhotoWeek130104Prop8\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Prop8.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>The 9th Circuit Court of Appeals on Feb. 7 upheld Judge Vaughn Walker's \u003ca href=\"http://ww2.kqed.org/news/2012/02/07/prop-8-appeals-court-decision/\">ruling that invalidated Proposition 8\u003c/a>, California's same-sex marriage ban. The federal appeals court declared the ban to be unconstitutional, paving the way for a U.S. Supreme Court showdown on the voter-approved law. (Don Clyde/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003c!--more-->\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OwlChick.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84578\" title=\"PhotoWeek130104OwlChick\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OwlChick.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>In April, a Great Horned Owl \u003ca href=\"http://www.berkeleyside.com/2012/04/26/berkeley-owl-chick-will-soon-branch-out-says-expert/\">made its nest in the crotch of a Eucalyptus tree\u003c/a> on Berkeley’s Claremont Canyon fire trail. The arrival of a chick was a source of fascination for many bird-loving hikers and photographers. (Lee Aurich/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MayDay.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84582\" title=\"PhotoWeek130104MayDay\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104MayDay.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/2012/05/01/bay-area-may-day-protests/\">Protesters turned out in force on May Day in the Bay Area\u003c/a>. The day began with protests at ferry terminals throughout the Bay as part of a labor action by workers in a dispute over health care. A planned protest aimed at shutting down the Golden Gate Bridge was called off. In Oakland, 3-5,000 protesters skirmished with police, who used tear gas. In San Francisco, protesters marched and took over a building at 888 Turk. (Don Clyde/KQED)\u003c/em>\u003cbr>\n\u003c!--more-->\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OccupyArt.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84583\" title=\"PhotoWeek130104OccupyArt\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104OccupyArt.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Yerba Buena Center for the Arts presented \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=101468\">Occupy Bay Area, an exhibition of \"visual culture\" from Occupy encampments\u003c/a> around the Bay Area. Though the show made perfect sense to artists and other cultural producers, it was considered a bold move to some who questioned whether the exhibition created a kind of \"instant history.\" (Artwork by Eric Drooker; courtesy of the artist and YBCA)\u003c/em>\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/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EclipseGlass.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84594\" title=\"PhotoWeek130104EclipseGlass\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EclipseGlass.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Watching the \u003ca href=\"http://www.berkeleyside.com/2012/05/21/berkeleyans-come-out-in-force-to-view-eclipse-of-the-sun/\">partial eclipse of the sun\u003c/a> on the afternoon of Sunday, May 20 at the Lawrence Hall of Science. (Elazar Sontag/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Pika.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84584\" title=\"PhotoWeek130104Pika\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104Pika.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>The American pika is a squeaky little animal that lives at high elevations in mountains in the West. It could one day have a huge \u003ca href=\"http://blogs.kqed.org/climatewatch/tag/pika/\" target=\"_blank\">influence on the battle over climate change\u003c/a>. And a \u003ca href=\"http://science.kqed.org/quest/audio/counting-climate-challenged-pikas/\">new program is enlisting students to help scientists\u003c/a> learn more about the critters. (Craig Miller/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104quarry.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84588\" title=\"PhotoWeek130104quarry\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104quarry.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/2012/12/05/how-silicon-valley-wants-to-pay-for-flood-protection/\">Sea level rise could one day inundate\u003c/a> industrial, commercial and residential areas all along the Bay, from this rock quarry in the North Bay to companies in Silicon Valley and neighborhoods in San Jose. (Molly Samuel/KQED/aerial support from LightHawk)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104redwoods.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84591\" title=\"PhotoWeek130104redwoods\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104redwoods.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>The State Parks Department threatened to close 70 parks following budget cuts. Anderson Valley residents said Hendy Woods is an important part of their economy and gathered at \"\u003ca href=\"http://www.californiareport.org/archive/R201203060850/b\">Occupy Hendy Woods\u003c/a>\" to discuss how to keep the park open. In July, it was revealed that the department was \u003ca href=\"http://ww2.kqed.org/news/2012/07/20/state-parks-chief-resigns-agency-found-sitting-on-54-million/\" target=\"_blank\">sitting on a $54 million surplus\u003c/a>. In the end, no parks were closed in 2012. (Molly Samuel/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104ChevronFire.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84593\" title=\"PhotoWeek130104ChevronFire\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104ChevronFire.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Berkeleyans had front row seats to a\u003ca href=\"http://www.berkeleyside.com/2012/08/06/chevron-officials-want-east-bay-residents-including-berkeleyans-to-stay-indoors/\"> fire that erupted at the Chevron refinery in Richmond\u003c/a> on Aug. 6. More than 80 firefighters spent five hours battling the blaze, which prompted shelter-in-place orders for an estimated 160,000 local residents. (Jef Poskanzer/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EndeavorSkyl.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84596\" title=\"PhotoWeek130104EndeavorSkyl\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104EndeavorSkyl.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>On Sept. 21 Berkeleyans in the thousands turned out to see the space shuttle Endeavour, carried on a specially adapted NASA 747, fly just over the city’s rooftops and the Bay. Many gathered at vista points in the hills, including Grizzly Peak Drive, Inspiration Point, and the Lawrence Hall of Science, while others looked open-mouthed from sidewalks, school playgrounds and the bleachers at Berkeley High. (Alan Tobey/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026RomoShrine.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84590\" title=\"PhotoWeek121026RomoShrine\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026RomoShrine.jpg\" alt=\"\" width=\"640\" height=\"450\">\u003c/a>\u003cem>Frank and Leticia Romo's \u003ca href=\"http://ww2.kqed.org/news/2012/10/24/in-sergio-romos-small-hometown-no-1-crop-is-pro-baseball-players/\">shrine to their son Sergio's baseball career\u003c/a> in his childhood bedroom in Brawley, California. About 25,000 people live in this farm town, out in the desert scrubland. There's no big college, no stadium, but the town has sent a bumper crop of 21 players to the major and minor leagues. (Marcus Teply/KQED)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104vetday.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84592\" title=\"PhotoWeek130104vetday\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104vetday.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Six-year-old Aubrey Bown places a red carnation to honor her uncle, James Suh, a U.S. Navy SEAL who was shot down in Korangal Valley, Afghanistan. \u003ca href=\"http://peninsulapress.com/2012/11/12/silicon-valley-honors-veterans-photos/\">Cupertino hosted the annual Veterans Day ceremony\u003c/a> at Memorial Park. (Anna Li/\u003ca href=\"http://peninsulapress.com/\">Peninsula Press\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104JeffTedford.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84595\" title=\"PhotoWeek130104JeffTedford\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek130104JeffTedford.jpg\" alt=\"\" width=\"620\" height=\"450\">\u003c/a>\u003cem>Jeff Tedford, head coach of the Cal Golden Bears football team since 2002, was \u003ca href=\"http://www.berkeleyside.com/2012/11/20/cal-football-coach-jeff-tedford-sacked-after-3-9-season/\">fired on Nov. 20 after a 3-9 season\u003c/a> and a combined 15-22 record over the last three years. Tedford's total pay in 2011 was almost $2.9 million. (Joe Parks/\u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026homelessness.jpg\">\u003cimg class=\"aligncenter size-full wp-image-84589\" title=\"PhotoWeek121026homelessness\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/PhotoWeek121026homelessness.jpg\" alt=\"\" width=\"640\" height=\"450\">\u003c/a>\u003cem>A homeless man amid his belongings in the alleyway where he lives in Berkeley. (Anna Vignet /\u003ca href=\"http://sfpublicpress.org/\">San Francisco Public Press\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003cem>This photo is part of a photo essay on homelessness entitled \"Architecture of Homelessness.\" The photographer's statement on the project is included below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Initiatives to help San Francisco’s homeless find shelter, jobs or medical treatment remain controversial. One recent law, the “sit-lie” ordinance, made it illegal to sit or lie down on city sidewalks. Some homeless people say this law takes away their right to dwell freely — essentially the right to be alive. How does one build a place of one’s own in a city where other opportunities are not available? We all have the need to create a sense of home, even in extreme circumstances. In these photos, the lines between public and private, urban and domestic, blur. They reveal the architecture of homelessness, and contribute to the understanding of a displaced people who make their own spaces.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Film Critic David Thomson on How 'Star Wars' Embraces SF Ethos",
"headTitle": "Film Critic David Thomson on How ‘Star Wars’ Embraces SF Ethos | KQED",
"content": "\u003cfigure id=\"attachment_83971\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/12/Vertigo_1958_trailer_embrace.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-83971\" title=\"Vertigo_1958_trailer_embrace\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/12/Vertigo_1958_trailer_embrace-300x168.jpg\" alt=\"\" width=\"300\" height=\"168\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Novak and James Stewart in \"Vertigo\"\u003c/figcaption>\u003c/figure>\n\u003cp>The eminent film critic and resident San Franciscan \u003cstrong>\u003ca href=\"http://www.kqed.org/a/forum/R201212261000\" target=\"_blank\" rel=\"noopener\">David Thomson was a guest on KQED Public Radio’s Forum show today\u003c/a>\u003c/strong>, talking about his latest book, \u003ca href=\"http://us.macmillan.com/thebigscreen/DavidThomson\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Screen: The Story of the Movies\u003c/em>\u003c/a>, and other explorations in cinephilia. Jan Stuart’s \u003ca href=\"http://www.sfgate.com/books/article/The-Big-Screen-by-David-Thomson-3944082.php\" target=\"_blank\" rel=\"noopener\">review of the book in the Chronicle\u003c/a> puts Thomson’s place in the critical continuum nicely…\u003c/p>\n\u003cblockquote>\u003cp>Rare is the film critic who accesses a movie through hidden doors, off-the-map passageways that most of us lack the internal GPS, let alone the moxie, to locate. With the loss of Pauline Kael and Manny Farber, that exclusive clubhouse is now dominated by David Thomson, an indefatigable provocateur and the most quotable cineaste you won’t find in the movie quote ads.\u003c/p>\u003c/blockquote>\n\u003cp>After today’s show, I talked to Mr. Thomson about the topic of San Francisco in the movies. One particularly interesting thing he said: he thinks \u003cem>Star Wars\u003c/em> is in some way emblematic of the city’s ethos.\u003c/p>\n\u003cp>Edited transcript…\u003c/p>\n\u003caside class=\"pullquote alignleft\">\u003cstrong>Though the Star Wars films don’t use San Francisco, in a way they are about the ethos of the city. They’re about the idea that young people can start making films in a different way, so you don’t have to go Hollywood.\u003c/strong>\u003cbr>\n—\u003cstrong>David Thomson\u003c/strong>\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>JON BROOKS\u003c/strong>: So what films stand out to you as particularly evocative of San Francisco and the Bay Area?\u003c/p>\n\u003cp>\u003cstrong>DAVID THOMSON\u003c/strong>: \u003ca href=\"http://www.sfgate.com/books/article/Haunted-by-Hitchcock-s-Vertigo-3621253.php\">\u003cem>Vertigo\u003c/em>\u003c/a> is the obvious answer. It’s a film that not only uses San Francisco as its background, but it sort of understands the way in which San Francisco and its light can also be a dreamy, sinister place. Von Stroheim’s \u003cem>Greed\u003c/em> has amazing shots of Polk Street. Everyone in San Francisco loves the \u003ca href=\"https://www.youtube.com/watch?v=31JgMAHVeg0\" target=\"_blank\" rel=\"noopener\">car chase in \u003cem>Bullitt\u003c/em>\u003c/a> not just for the chase but because it’s put together using shots on streets that don’t match. Then there’s the \u003cem>Dirty Harry\u003c/em> movies. \u003ca href=\"https://www.youtube.com/watch?v=LvhoeL3Vv-c\" target=\"_blank\" rel=\"noopener\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> has quite a lot of stuff in San Franciso. \u003cem>Point Blank\u003c/em> uses Alcatraz and Fort Point very well. \u003c!--more-->\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>BROOKS\u003c/strong>: How about films that speak to San Francisco’s culture or character?\u003c/p>\n\u003cp>\u003cstrong>THOMSON\u003c/strong>: Wayne Wang made a couple of early films, \u003cem>Dim Sum\u003c/em> and \u003cem>Chan is Missing\u003c/em>, which are very good on the Chinatown aspects of the city. \u003ca href=\"http://www.youtube.com/watch?v=clfVZWgd8aE\" target=\"_blank\" rel=\"noopener\">Petulia\u003c/a> is quite good on the chaos — or liberation — of the 60s. The Rolling Stones documentary \u003ca href=\"http://www.youtube.com/watch?v=4CG1rbUdHKg\" target=\"_blank\" rel=\"noopener\">Gimme Shelter\u003c/a> — filmed in Altamont — is interesting in that era too.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=vrhRsZ56b4g\" target=\"_blank\" rel=\"noopener\">\u003cem>The Conversation\u003c/em>\u003c/a> is a great San Francisco film. It’s a noir film about people being bugged and spied on and surveilled; it’s a very prescient film in that way.\u003c/p>\n\u003cp>A film like \u003cem>Milk\u003c/em> is very interesting and obviously there have been a lot of important gay films, many of them documentaries. And Woody Allen’s got his San Francisco film coming out. He’s become a sort of movie tourist.\u003c/p>\n\u003cp>Then there’s the whole ethos of the George Lucas enterprise. Lucas and Coppola both really wanted to get away from LA because they thought there was a more supportive atmosphere up here. So though the \u003cem>Star Wars\u003c/em> films don’t use San Francisco, in a way they are about the ethos of the city. They’re about the idea that young people can start making films in a different way so you don’t have to go Hollywood, You can stay at home in San Francisco with its greater liberalism and range of attitudes, so that you can be freer.\u003c/p>\n\u003cp>Phil Kaufman’s \u003cem>The Right Stuff\u003c/em> is also not about San Francisco, but the fact of the matter is that almost all of it was filmed in San Francisco and it’s the fruit of an attitude that says you can make a fllm in your home town. He’s a great lover and exponent of the city. His \u003ca href=\"https://www.youtube.com/watch?v=7nFXIPdseQA\" target=\"_blank\" rel=\"noopener\">\u003cem>Invasion of the Body Snatchers\u003c/em>\u003c/a> is a film that uses San Francisco most directly.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>You can \u003ca href=\"http://www.kqed.org/a/forum/R201212261000\" target=\"_blank\" rel=\"noopener\">listen to the complete Forum segment\u003c/a> with David Thomson here\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And you can \u003ca href=\"http://www.amazon.com/The-Big-Screen-Story-Movies/dp/0374191891/ref=cm_cr_pr_product_top/180-2617453-7859041#reader_0374191891\" target=\"_blank\" rel=\"noopener\">read some of Thomson’s \u003cem>The Big Screen\u003c/em>\u003c/a> at Amazon.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_83971\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/12/Vertigo_1958_trailer_embrace.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-83971\" title=\"Vertigo_1958_trailer_embrace\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/12/Vertigo_1958_trailer_embrace-300x168.jpg\" alt=\"\" width=\"300\" height=\"168\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Novak and James Stewart in \"Vertigo\"\u003c/figcaption>\u003c/figure>\n\u003cp>The eminent film critic and resident San Franciscan \u003cstrong>\u003ca href=\"http://www.kqed.org/a/forum/R201212261000\" target=\"_blank\" rel=\"noopener\">David Thomson was a guest on KQED Public Radio’s Forum show today\u003c/a>\u003c/strong>, talking about his latest book, \u003ca href=\"http://us.macmillan.com/thebigscreen/DavidThomson\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Screen: The Story of the Movies\u003c/em>\u003c/a>, and other explorations in cinephilia. Jan Stuart’s \u003ca href=\"http://www.sfgate.com/books/article/The-Big-Screen-by-David-Thomson-3944082.php\" target=\"_blank\" rel=\"noopener\">review of the book in the Chronicle\u003c/a> puts Thomson’s place in the critical continuum nicely…\u003c/p>\n\u003cblockquote>\u003cp>Rare is the film critic who accesses a movie through hidden doors, off-the-map passageways that most of us lack the internal GPS, let alone the moxie, to locate. With the loss of Pauline Kael and Manny Farber, that exclusive clubhouse is now dominated by David Thomson, an indefatigable provocateur and the most quotable cineaste you won’t find in the movie quote ads.\u003c/p>\u003c/blockquote>\n\u003cp>After today’s show, I talked to Mr. Thomson about the topic of San Francisco in the movies. One particularly interesting thing he said: he thinks \u003cem>Star Wars\u003c/em> is in some way emblematic of the city’s ethos.\u003c/p>\n\u003cp>Edited transcript…\u003c/p>\n\u003caside class=\"pullquote alignleft\">\u003cstrong>Though the Star Wars films don’t use San Francisco, in a way they are about the ethos of the city. They’re about the idea that young people can start making films in a different way, so you don’t have to go Hollywood.\u003c/strong>\u003cbr>\n—\u003cstrong>David Thomson\u003c/strong>\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>JON BROOKS\u003c/strong>: So what films stand out to you as particularly evocative of San Francisco and the Bay Area?\u003c/p>\n\u003cp>\u003cstrong>DAVID THOMSON\u003c/strong>: \u003ca href=\"http://www.sfgate.com/books/article/Haunted-by-Hitchcock-s-Vertigo-3621253.php\">\u003cem>Vertigo\u003c/em>\u003c/a> is the obvious answer. It’s a film that not only uses San Francisco as its background, but it sort of understands the way in which San Francisco and its light can also be a dreamy, sinister place. Von Stroheim’s \u003cem>Greed\u003c/em> has amazing shots of Polk Street. Everyone in San Francisco loves the \u003ca href=\"https://www.youtube.com/watch?v=31JgMAHVeg0\" target=\"_blank\" rel=\"noopener\">car chase in \u003cem>Bullitt\u003c/em>\u003c/a> not just for the chase but because it’s put together using shots on streets that don’t match. Then there’s the \u003cem>Dirty Harry\u003c/em> movies. \u003ca href=\"https://www.youtube.com/watch?v=LvhoeL3Vv-c\" target=\"_blank\" rel=\"noopener\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> has quite a lot of stuff in San Franciso. \u003cem>Point Blank\u003c/em> uses Alcatraz and Fort Point very well. \u003c!--more-->\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>BROOKS\u003c/strong>: How about films that speak to San Francisco’s culture or character?\u003c/p>\n\u003cp>\u003cstrong>THOMSON\u003c/strong>: Wayne Wang made a couple of early films, \u003cem>Dim Sum\u003c/em> and \u003cem>Chan is Missing\u003c/em>, which are very good on the Chinatown aspects of the city. \u003ca href=\"http://www.youtube.com/watch?v=clfVZWgd8aE\" target=\"_blank\" rel=\"noopener\">Petulia\u003c/a> is quite good on the chaos — or liberation — of the 60s. The Rolling Stones documentary \u003ca href=\"http://www.youtube.com/watch?v=4CG1rbUdHKg\" target=\"_blank\" rel=\"noopener\">Gimme Shelter\u003c/a> — filmed in Altamont — is interesting in that era too.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=vrhRsZ56b4g\" target=\"_blank\" rel=\"noopener\">\u003cem>The Conversation\u003c/em>\u003c/a> is a great San Francisco film. It’s a noir film about people being bugged and spied on and surveilled; it’s a very prescient film in that way.\u003c/p>\n\u003cp>A film like \u003cem>Milk\u003c/em> is very interesting and obviously there have been a lot of important gay films, many of them documentaries. And Woody Allen’s got his San Francisco film coming out. He’s become a sort of movie tourist.\u003c/p>\n\u003cp>Then there’s the whole ethos of the George Lucas enterprise. Lucas and Coppola both really wanted to get away from LA because they thought there was a more supportive atmosphere up here. So though the \u003cem>Star Wars\u003c/em> films don’t use San Francisco, in a way they are about the ethos of the city. They’re about the idea that young people can start making films in a different way so you don’t have to go Hollywood, You can stay at home in San Francisco with its greater liberalism and range of attitudes, so that you can be freer.\u003c/p>\n\u003cp>Phil Kaufman’s \u003cem>The Right Stuff\u003c/em> is also not about San Francisco, but the fact of the matter is that almost all of it was filmed in San Francisco and it’s the fruit of an attitude that says you can make a fllm in your home town. He’s a great lover and exponent of the city. His \u003ca href=\"https://www.youtube.com/watch?v=7nFXIPdseQA\" target=\"_blank\" rel=\"noopener\">\u003cem>Invasion of the Body Snatchers\u003c/em>\u003c/a> is a film that uses San Francisco most directly.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>You can \u003ca href=\"http://www.kqed.org/a/forum/R201212261000\" target=\"_blank\" rel=\"noopener\">listen to the complete Forum segment\u003c/a> with David Thomson here\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And you can \u003ca href=\"http://www.amazon.com/The-Big-Screen-Story-Movies/dp/0374191891/ref=cm_cr_pr_product_top/180-2617453-7859041#reader_0374191891\" target=\"_blank\" rel=\"noopener\">read some of Thomson’s \u003cem>The Big Screen\u003c/em>\u003c/a> at Amazon.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why 'White Christmas' Is Actually a California Song",
"headTitle": "Why ‘White Christmas’ Is Actually a California Song | KQED",
"content": "\u003cp>Many people don’t realize it, but Irving Berlin’s “White Christmas” – the most recorded holiday song of all time, because it’s also the most \u003cem>recorded\u003c/em> song of all time – is written from the point of view of a Californian. The part of the song that we all know is the chorus; the verse, which sets it up, goes like this:\u003c/p>\n\u003cp>\u003cem>The sun is shining, the grass is green\u003c/em>\u003c/p>\n\u003cp>\u003cem>The orange and palm trees sway\u003c/em>\u003c/p>\n\u003cp>\u003cem>There’s never been such a day\u003c/em>\u003c/p>\n\u003cp>\u003cem>In Beverly Hills, L. A.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>But it’s December the 24th\u003c/em>\u003c/p>\n\u003cp>\u003cem>And I am longing to be up north….\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m dreaming of a white Christmas…\u003c/em>\u003c/p>\n\u003cp>Etc. etc. This makes a lot of sense. For a child like me growing up in the upper Midwest, singing “I’m dreaming of a white Christmas” was much like saying “I’m dreaming of a peanut butter sandwich in my lunchbox.” You might welcome it, but whether you did or not you were pretty certain that nine times out of ten that’s what you were going to get.\u003c/p>\n\u003cp>But the verse isn’t heard very often, and when it is it’s frequently performed by someone steeped in twentieth-century popular song. Someone like \u003ca href=\"http://arnefogel.com/index.php/latest-news/\" target=\"_blank\" rel=\"noopener\">Arne Fogel\u003c/a>, whom I interviewed recently for \u003ca href=\"http://www.californiareport.org/archive/R201212211630/c\" target=\"_blank\" rel=\"noopener\">a story I did about “White Christmas” for The California Report\u003c/a>. Fogel’s a singer and broadcaster; he’s also something of an expert on Bing Crosby, and he’s hosting a special about the crooner’s Christmas recordings for Sirius XM.\u003c/p>\n\u003cp>Fogel says Crosby didn’t sing the verse when he debuted “White Christmas” in the movie \u003ca href=\"http://www.imdb.com/title/tt0034862/\" target=\"_blank\" rel=\"noopener\">Holiday Inn\u003c/a> in 1942, and he also didn’t sing it in the \u003ca href=\"http://www.imdb.com/title/tt0047673/\" target=\"_blank\" rel=\"noopener\">1954 film named after the song\u003c/a>.\u003c/p>\n\u003cp>“Crosby didn’t sing the verse until a TV show in the late 1960s, which I remember watching,” Fogel says. “And he starts singing, ‘The sun is shining, the grass is green, the orange and palm trees sway…’, and I didn’t know what the heck he was singing about. This is Christmastime, why is he singing about these palm trees? Then he suddenly goes into White Christmas, and I thought, that’s interesting, I never heard that before.”\u003c/p>\n\u003cp>Here’s that 1968 performance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hr1kITD4X6U\u003c/p>\n\u003cp>Slate music critic Jody Rosen wrote \u003ca href=\"https://www.kirkusreviews.com/book-reviews/jody-rosen/white-christmas/#review\" target=\"_blank\" rel=\"noopener\">a book about White Christmas\u003c/a> in 2002. His research indicates that Irving Berlin may have been working on the song as early as 1938, and with a very different concept in mind. “It is difficult to imagine the ‘White Christmas’ we know today as a showstopper in a revue filled with dog tricks and pratfalls,” Rosen writes, but that’s where Berlin was going with it: a satire on Hollywood types lolling around a pool, pretending to a nostalgia they didn’t really feel.\u003c/p>\n\u003cp>But the cynical mood that prevailed in 1938 was gone by 1942, when the song was heard by GIs getting ready to ship out and the families whom they were leaving behind. Arne Fogel says, “All that context of ‘the sun is shining here in Beverly Hills’ has absolutely no resonance for them. (For the GIs) the song has meaning, because here I am, fighting this war for our way of life, and I wish I was back home the way it was when I was a kid. That’s why the song really took off. Because it became not just a Christmas carol, it became an American anthem.”\u003c/p>\n\u003cp>\u003ca href=\"http://cohesion.asu.edu/?fellow=gregory-rodriguez\" target=\"_blank\" rel=\"noopener\">Gregory Rodriguez\u003c/a> has a modern take on the dislocation implicit in “White Christmas.” Rodriguez is the founding director for the Center for Social Cohesion at Arizona State University and a senior fellow at the New America Foundation. He wrote about \u003ca href=\"http://articles.latimes.com/2011/dec/19/opinion/la-oe-rodriguez-xmas-20111219\" target=\"_blank\" rel=\"noopener\">the song for the Los Angeles Times last year\u003c/a>. Whereas the original audience for “White Christmas” was longing from a European battlefield for “the ones they used to know,” Rodriguez points out that today’s wistful listener may be from Sunnyvale, recalling those snows of yesteryear from a cubicle.\u003c/p>\n\u003cp>“The American story is a story of migration, and the California story is the American story on steroids,” he says. “It’s the flip side of this great triumphant story of movement, and particularly in California, I think, it speaks to people who may be missing people back home. I think the song really speaks to that tension, but the first bars seem to land on the side of ‘I’m happy that I moved away.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But don’t feel the song only offers a choice between Beverly Hills and Everytown, USA. After the story aired on The California Report, listener Laura Turiano wrote to say she used to perform “White Christmas” with an East Bay vocal group. “That first verse seemed way too specific even for us to sing here,” she wrote. So they changed the lyrics to…\u003c/p>\n\u003cblockquote>\u003cp>The sun is shining\u003cbr>\nThe grass is green\u003cbr>\nThe redwoods and oak trees sway\u003cbr>\nThere’s never been such a day,\u003cbr>\nHere in Oakland, CA\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many people don’t realize it, but Irving Berlin’s “White Christmas” – the most recorded holiday song of all time, because it’s also the most \u003cem>recorded\u003c/em> song of all time – is written from the point of view of a Californian. The part of the song that we all know is the chorus; the verse, which sets it up, goes like this:\u003c/p>\n\u003cp>\u003cem>The sun is shining, the grass is green\u003c/em>\u003c/p>\n\u003cp>\u003cem>The orange and palm trees sway\u003c/em>\u003c/p>\n\u003cp>\u003cem>There’s never been such a day\u003c/em>\u003c/p>\n\u003cp>\u003cem>In Beverly Hills, L. A.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>But it’s December the 24th\u003c/em>\u003c/p>\n\u003cp>\u003cem>And I am longing to be up north….\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m dreaming of a white Christmas…\u003c/em>\u003c/p>\n\u003cp>Etc. etc. This makes a lot of sense. For a child like me growing up in the upper Midwest, singing “I’m dreaming of a white Christmas” was much like saying “I’m dreaming of a peanut butter sandwich in my lunchbox.” You might welcome it, but whether you did or not you were pretty certain that nine times out of ten that’s what you were going to get.\u003c/p>\n\u003cp>But the verse isn’t heard very often, and when it is it’s frequently performed by someone steeped in twentieth-century popular song. Someone like \u003ca href=\"http://arnefogel.com/index.php/latest-news/\" target=\"_blank\" rel=\"noopener\">Arne Fogel\u003c/a>, whom I interviewed recently for \u003ca href=\"http://www.californiareport.org/archive/R201212211630/c\" target=\"_blank\" rel=\"noopener\">a story I did about “White Christmas” for The California Report\u003c/a>. Fogel’s a singer and broadcaster; he’s also something of an expert on Bing Crosby, and he’s hosting a special about the crooner’s Christmas recordings for Sirius XM.\u003c/p>\n\u003cp>Fogel says Crosby didn’t sing the verse when he debuted “White Christmas” in the movie \u003ca href=\"http://www.imdb.com/title/tt0034862/\" target=\"_blank\" rel=\"noopener\">Holiday Inn\u003c/a> in 1942, and he also didn’t sing it in the \u003ca href=\"http://www.imdb.com/title/tt0047673/\" target=\"_blank\" rel=\"noopener\">1954 film named after the song\u003c/a>.\u003c/p>\n\u003cp>“Crosby didn’t sing the verse until a TV show in the late 1960s, which I remember watching,” Fogel says. “And he starts singing, ‘The sun is shining, the grass is green, the orange and palm trees sway…’, and I didn’t know what the heck he was singing about. This is Christmastime, why is he singing about these palm trees? Then he suddenly goes into White Christmas, and I thought, that’s interesting, I never heard that before.”\u003c/p>\n\u003cp>Here’s that 1968 performance.\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/Hr1kITD4X6U'\n title='//www.youtube.com/embed/Hr1kITD4X6U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Slate music critic Jody Rosen wrote \u003ca href=\"https://www.kirkusreviews.com/book-reviews/jody-rosen/white-christmas/#review\" target=\"_blank\" rel=\"noopener\">a book about White Christmas\u003c/a> in 2002. His research indicates that Irving Berlin may have been working on the song as early as 1938, and with a very different concept in mind. “It is difficult to imagine the ‘White Christmas’ we know today as a showstopper in a revue filled with dog tricks and pratfalls,” Rosen writes, but that’s where Berlin was going with it: a satire on Hollywood types lolling around a pool, pretending to a nostalgia they didn’t really feel.\u003c/p>\n\u003cp>But the cynical mood that prevailed in 1938 was gone by 1942, when the song was heard by GIs getting ready to ship out and the families whom they were leaving behind. Arne Fogel says, “All that context of ‘the sun is shining here in Beverly Hills’ has absolutely no resonance for them. (For the GIs) the song has meaning, because here I am, fighting this war for our way of life, and I wish I was back home the way it was when I was a kid. That’s why the song really took off. Because it became not just a Christmas carol, it became an American anthem.”\u003c/p>\n\u003cp>\u003ca href=\"http://cohesion.asu.edu/?fellow=gregory-rodriguez\" target=\"_blank\" rel=\"noopener\">Gregory Rodriguez\u003c/a> has a modern take on the dislocation implicit in “White Christmas.” Rodriguez is the founding director for the Center for Social Cohesion at Arizona State University and a senior fellow at the New America Foundation. He wrote about \u003ca href=\"http://articles.latimes.com/2011/dec/19/opinion/la-oe-rodriguez-xmas-20111219\" target=\"_blank\" rel=\"noopener\">the song for the Los Angeles Times last year\u003c/a>. Whereas the original audience for “White Christmas” was longing from a European battlefield for “the ones they used to know,” Rodriguez points out that today’s wistful listener may be from Sunnyvale, recalling those snows of yesteryear from a cubicle.\u003c/p>\n\u003cp>“The American story is a story of migration, and the California story is the American story on steroids,” he says. “It’s the flip side of this great triumphant story of movement, and particularly in California, I think, it speaks to people who may be missing people back home. I think the song really speaks to that tension, but the first bars seem to land on the side of ‘I’m happy that I moved away.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But don’t feel the song only offers a choice between Beverly Hills and Everytown, USA. After the story aired on The California Report, listener Laura Turiano wrote to say she used to perform “White Christmas” with an East Bay vocal group. “That first verse seemed way too specific even for us to sing here,” she wrote. So they changed the lyrics to…\u003c/p>\n\u003cblockquote>\u003cp>The sun is shining\u003cbr>\nThe grass is green\u003cbr>\nThe redwoods and oak trees sway\u003cbr>\nThere’s never been such a day,\u003cbr>\nHere in Oakland, CA\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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