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"content": "\u003cp>You catch that \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/22/PK491MLT0Q.DTL\">\u003cstrong>Sunday Chronicle profile of Noah St. John\u003c/strong>\u003c/a>, the 15-year-old Berkeley High sophomore who has been competing in poetry slams and has \u003ca href=\"http://snapjudgment.org/last-mile-0\">read on NPR's Snap Judgment\u003c/a>?\u003c/p>\n\u003cblockquote>\u003cp>Raised in the Shakespearean theater, with a novelist and a rhetoric expert as parents, you could say Noah was predestined for slam poetry princedom...He is uninhibited onstage, telling stories about growing up with two moms, life lessons he learned through the martial art of capoeira or his crush on an elementary-school teacher...\"No subject matter is ever off-limits,\" Noah said.\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://vimeo.com/24902547\">Here he is\u003c/a> in the first round of the 2011 \u003ca href=\"http://youthspeaks.org/voice/performances/youth-speaks-teen-poetry-slam/\">Youth Speaks Teen Poetry Slam\u003c/a>, poeticizin' about the Brazilian martial art \u003ca href=\"http://en.wikipedia.org/wiki/Capoeira\">capoeria\u003c/a>. Watch him do a flip in the middle of the piece. \u003c/p>\n\u003cp>\u003ciframe src=\"http://player.vimeo.com/video/24902547?title=0&byline=0&portrait=0\" width=\"400\" height=\"300\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003c!--more-->\n\u003cp>Virtual high five to \u003ca href=\"http://www.berkeleyside.com/2012/01/24/berkeley-student-wows-audiences-with-poetry-spoken-word/\">Berkeleyside\u003c/a> for posting the first video yesterday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here he is in a later round \u003ca href=\"http://www.youtube.com/watch?v=CBajyPL_-7Y\">performing\u003c/a> \"Strawberry Blonde.\" \u003c/p>\n\u003cp>\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/CBajyPL_-7Y\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And \u003ca href=\"http://www.youtube.com/watch?v=8cQIPWxrjJI&feature=related\">here he is performing\u003c/a> when he was even younger...\u003c/p>\n\u003cp>\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/8cQIPWxrjJI\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"For me, it's about communicating with the audience, not so much getting caught up in the rhythm or sound of your own poem,\" Noah told the Chronicle. \"It's more about how the words are making you feel in the moment, so performing it feels new every time.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You catch that \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/22/PK491MLT0Q.DTL\">\u003cstrong>Sunday Chronicle profile of Noah St. John\u003c/strong>\u003c/a>, the 15-year-old Berkeley High sophomore who has been competing in poetry slams and has \u003ca href=\"http://snapjudgment.org/last-mile-0\">read on NPR's Snap Judgment\u003c/a>?\u003c/p>\n\u003cblockquote>\u003cp>Raised in the Shakespearean theater, with a novelist and a rhetoric expert as parents, you could say Noah was predestined for slam poetry princedom...He is uninhibited onstage, telling stories about growing up with two moms, life lessons he learned through the martial art of capoeira or his crush on an elementary-school teacher...\"No subject matter is ever off-limits,\" Noah said.\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://vimeo.com/24902547\">Here he is\u003c/a> in the first round of the 2011 \u003ca href=\"http://youthspeaks.org/voice/performances/youth-speaks-teen-poetry-slam/\">Youth Speaks Teen Poetry Slam\u003c/a>, poeticizin' about the Brazilian martial art \u003ca href=\"http://en.wikipedia.org/wiki/Capoeira\">capoeria\u003c/a>. Watch him do a flip in the middle of the piece. \u003c/p>\n\u003cp>\u003ciframe src=\"http://player.vimeo.com/video/24902547?title=0&byline=0&portrait=0\" width=\"400\" height=\"300\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003c!--more-->\n\u003cp>Virtual high five to \u003ca href=\"http://www.berkeleyside.com/2012/01/24/berkeley-student-wows-audiences-with-poetry-spoken-word/\">Berkeleyside\u003c/a> for posting the first video yesterday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here he is in a later round \u003ca href=\"http://www.youtube.com/watch?v=CBajyPL_-7Y\">performing\u003c/a> \"Strawberry Blonde.\" \u003c/p>\n\u003cp>\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/CBajyPL_-7Y\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And \u003ca href=\"http://www.youtube.com/watch?v=8cQIPWxrjJI&feature=related\">here he is performing\u003c/a> when he was even younger...\u003c/p>\n\u003cp>\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/8cQIPWxrjJI\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"For me, it's about communicating with the audience, not so much getting caught up in the rhythm or sound of your own poem,\" Noah told the Chronicle. \"It's more about how the words are making you feel in the moment, so performing it feels new every time.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cp>Rachael Myrow here, host of the California Report, with a handful of links to cool and/or important stories outside the Bay Area local readers should check out.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.inlandsocal.com/iguide/music/music-headlines/20120124-music-memorial-for-etta-james-set-for-inglewood-friday.ece\">RIVERSIDE: Etta James’ memorial set for Inglewood Friday \u003c/a>(Riverside Press Enterprise)\u003c/li>\n\u003cli>\u003ca title=\"Cap on new Cal State campus presidents' pay urged\" href=\"http://www.latimes.com/news/local/la-me-calstate-raises-20120125,0,2450173.story\" target=\"_top\" rel=\"noopener\">Cap on new Cal State campus presidents’ pay urged\u003c/a> (Los Angeles Times)\u003c/li>\n\u003cli>\u003ca href=\"http://latimesblogs.latimes.com/california-politics/2012/01/health-care-california-budget.html\">Judge approves settlement on adult day healthcare\u003c/a> (Los Angeles Times)\u003c/li>\n\u003cli>\u003ca title=\"http://www.nytimes.com/2012/01/25/us/silicon-valley-newcomers-are-still-dreaming-big.html?emc=tnt&tntemail0=y\" href=\"http://www.nytimes.com/2012/01/25/us/silicon-valley-newcomers-are-still-dreaming-big.html?emc=tnt&tntemail0=y\">Silicon Valley Newcomers Are Still Dreaming Big\u003c/a> (New York Times)\u003c/li>\n\u003cli>\u003ca href=\"http://blogs.wsj.com/bankruptcy/2012/01/24/smashed-solyndra-assets-scandal-or-standard-procedure/?KEYWORDS=Bankruptcy+Report+blog\">Cleaning Out Solyndra: Outrage or Normal Procedure?\u003c/a> (Wall Street Journal)\u003c/li>\n\u003c/ul>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "I Was an Extra on the Set of \u003ci>Moneyball\u003c/i>",
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"content": "\u003cfigure id=\"attachment_54358\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/moneyballSM.jpg\">\u003cimg class=\"size-medium wp-image-54358\" title=\"moneyballSM\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/moneyballSM-300x179.jpg\" alt=\"\" width=\"300\" height=\"179\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Jon Brooks/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Moneyball\u003c/em>, the film about Oakland A’s general manager Billy Beane and the team’s historic 20-game winning streak of 2002, was \u003ca href=\"http://www.washingtonpost.com/lifestyle/style/the-list-of-84th-annual-academy-award-nominations/2012/01/24/gIQAU3nUNQ_story.html?tid=pm_lifestyle_pop\">nominated\u003c/a> today for six Academy Awards, including Best Picture, Best Actor (Brad Pitt as Beane), and Best Adapted Screenplay (Steven Zaillian and Aaron Sorkin; story by Stan Chervin, from Berkeley author Michael Lewis’s nonfiction book).\u003c/p>\n\u003cp>Like many die-hard A’s fans, I was an unpaid extra on \u003cem>Moneyball\u003c/em> when scenes were shot at the Oakland Coliseum in July and August of 2010. In fact, since I was actually at most of the games that were being re-created, I like to think that I'm a tiny pixel or two in both the background of the 2002 historical footage \u003cstrong>and\u003c/strong> in the 2010 recreations.\u003c/p>\n\u003cp>I turned up for the shoot dressed in the most historically authentic fan gear I owned, including my Scott Hatteberg player T-shirt. I had even removed the “Holy Toledo!” embroidered patch from my Oakland jersey – it commemorates beloved A’s broadcaster Bill King, who died in 2005, but was very much alive in 2002. Excerpts of King’s broadcasts are heard in the film, including his comment on the 20-game winning streak, “Just. Plain. Crazy!”\u003c/p>\n\u003cp>The filmmakers also went to great lengths to return the 2010 Coliseum to the way it looked in 2002. In \u003ca href=\"http://www.youtube.com/watch?v=EP1h8B_g8uo&feature=related\">this TV news story\u003c/a>, crews change the logos on the outfield walls and remove the tarps on the third deck that were added several years after the film takes place. During my night on the set, I was impressed by the scoreboard, which was updated before each shot with out-of-town scores as they actually would have appeared. (We were all made a bit wistful at the sight of MON, the erstwhile Montreal Expos' abbreviation, on the National League side of the board.)\u003c/p>\n\u003cp>My group of extras was reenacting the scene in Game 20 of the A’s' historic winning streak, in which the actor Stephen Bishop, as outfielder David Justice, chases a flyball into the corner. Because of the layout of the Coliseum, we had to stand up in order to peer into that nook of the field to see if he caught the ball, make appropriately disappointed faces and gestures when he didn’t, and sit down again. After about four takes, the assistant director came over to us and said, “Um, crowd? You don’t need to look \u003cem>that\u003c/em> disappointed, your team is still winning.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, my on-set experiences pale next to those of my friend Joe, who \u003ca href=\"http://www.athleticsnation.com/2010/8/5/1607657/billy-beane-brad-pitt-optimistprime\">described for the Athletics Nation blog\u003c/a> how he arrived at the shoot as an unpaid extra and left as a superstar’s body double. SB Nation’s baseball writer Rob Neyer also did a \u003ca href=\"http://mlb.sbnation.com/2012/1/18/2697216/live-blogging-moneyball\">brilliant not-live blog\u003c/a> of the DVD that picks out many of the inside-baseball details.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the Coliseum, there’s another iconic feature of Oakland that “Moneyball” production designers seem to have fallen in love with. In the film, Brad Pitt, as Billy Beane, spends a lot of time in his car, and his route home from the ballpark seems to take him by the Port of Oakland – the port’s cargo cranes are seen behind him in several scenes. There’s \u003ca href=\"http://articles.sfgate.com/2008-06-25/entertainment/17163538_1_cranes-lucas-walkers\">an apocryphal story\u003c/a> that the cranes inspired the AT-AT walking attack machines in \u003cem>Star Wars: The Empire Strikes Back\u003c/em>. George Lucas says it’s not true, but it might have been a subconscious impression on the part of a designer. \u003cem>The Empire Strikes Back\u003c/em> only got Oscars for sound and visual effects. Will “Moneyball” do better? As the Billy Beane character says in the film, if you don’t win the last game of the season, nobody cares.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, my on-set experiences pale next to those of my friend Joe, who \u003ca href=\"http://www.athleticsnation.com/2010/8/5/1607657/billy-beane-brad-pitt-optimistprime\">described for the Athletics Nation blog\u003c/a> how he arrived at the shoot as an unpaid extra and left as a superstar’s body double. SB Nation’s baseball writer Rob Neyer also did a \u003ca href=\"http://mlb.sbnation.com/2012/1/18/2697216/live-blogging-moneyball\">brilliant not-live blog\u003c/a> of the DVD that picks out many of the inside-baseball details.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the Coliseum, there’s another iconic feature of Oakland that “Moneyball” production designers seem to have fallen in love with. In the film, Brad Pitt, as Billy Beane, spends a lot of time in his car, and his route home from the ballpark seems to take him by the Port of Oakland – the port’s cargo cranes are seen behind him in several scenes. There’s \u003ca href=\"http://articles.sfgate.com/2008-06-25/entertainment/17163538_1_cranes-lucas-walkers\">an apocryphal story\u003c/a> that the cranes inspired the AT-AT walking attack machines in \u003cem>Star Wars: The Empire Strikes Back\u003c/em>. George Lucas says it’s not true, but it might have been a subconscious impression on the part of a designer. \u003cem>The Empire Strikes Back\u003c/em> only got Oscars for sound and visual effects. Will “Moneyball” do better? As the Billy Beane character says in the film, if you don’t win the last game of the season, nobody cares.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I'm often asked by aspiring bloggers what's the best way to break into the online content game. \u003c/p>\n\u003cp>Okay, so I'm never asked that by aspiring bloggers. (Though I do often get, \"Hey, do you know \u003ca href=\"http://www.kqed.org/radio/about/staff/scott-shafer.jsp\">Scott Shafer\u003c/a>?\")\u003c/p>\n\u003cp>In any event, blogger hopefuls, I've got two words for you, one of which is a compound word, but that's still two: \"\u003cem>Time-lapse video\u003c/em>.\" \u003c/p>\n\u003cp>The video is from \u003ca href=\"http://www.projectyose.com/\">Project Yosemite\u003c/a>. From the web site: \u003c/p>\n\u003cblockquote>\u003cp>Project Yosemite is a collaborative project by Sheldon Neill and Colin Delehanty. What started as an idea turned into an ongoing adventure to timelapse Yosemite in a extreme way.\u003c/p>\n\u003cp>We were complete strangers before it all started, but after we met on Vimeo our idea came into sight, and then began the challenge to make numerous trips to YNP where we would capture the beautiful landscape it offers for visitors every year.\u003c/p>\n\u003cp>We invite you to watch our video in hopes you'll witness Yosemite like never before.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://vimeo.com/35396305\">Here it is\u003c/a>, and it's pretty stunning:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe src=\"http://player.vimeo.com/video/35396305?color=ff0179\" width=\"529\" height=\"298\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the video's creators: \u003c/p>\n\u003cp>\"We've got a sequel planned in the near future. Be sure to subscribe and follow us! Thanks for the support everyone! You guys are awesome!\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And this from \u003ca href=\"http://blogs.discovermagazine.com/badastronomy/2012/01/21/time-lapse-yosemite/\">Discover Magazine's Bad Astronomy blog\u003c/a>: \u003c/p>\n\u003cblockquote>\u003cp>The...music? \"Outro\", by a group called M83.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I'm often asked by aspiring bloggers what's the best way to break into the online content game. \u003c/p>\n\u003cp>Okay, so I'm never asked that by aspiring bloggers. (Though I do often get, \"Hey, do you know \u003ca href=\"http://www.kqed.org/radio/about/staff/scott-shafer.jsp\">Scott Shafer\u003c/a>?\")\u003c/p>\n\u003cp>In any event, blogger hopefuls, I've got two words for you, one of which is a compound word, but that's still two: \"\u003cem>Time-lapse video\u003c/em>.\" \u003c/p>\n\u003cp>The video is from \u003ca href=\"http://www.projectyose.com/\">Project Yosemite\u003c/a>. From the web site: \u003c/p>\n\u003cblockquote>\u003cp>Project Yosemite is a collaborative project by Sheldon Neill and Colin Delehanty. What started as an idea turned into an ongoing adventure to timelapse Yosemite in a extreme way.\u003c/p>\n\u003cp>We were complete strangers before it all started, but after we met on Vimeo our idea came into sight, and then began the challenge to make numerous trips to YNP where we would capture the beautiful landscape it offers for visitors every year.\u003c/p>\n\u003cp>We invite you to watch our video in hopes you'll witness Yosemite like never before.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://vimeo.com/35396305\">Here it is\u003c/a>, and it's pretty stunning:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"http://player.vimeo.com/video/35396305?color=ff0179\" width=\"529\" height=\"298\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the video's creators: \u003c/p>\n\u003cp>\"We've got a sequel planned in the near future. Be sure to subscribe and follow us! Thanks for the support everyone! You guys are awesome!\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And this from \u003ca href=\"http://blogs.discovermagazine.com/badastronomy/2012/01/21/time-lapse-yosemite/\">Discover Magazine's Bad Astronomy blog\u003c/a>: \u003c/p>\n\u003cblockquote>\u003cp>The...music? \"Outro\", by a group called M83.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>from \u003ca href=\"http://californiawatch.org/dailyreport/hollywood-money-flows-calif-politicians-who-support-anti-piracy-bills-14591\">\u003cstrong>California Watch\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Hollywood is threatening politicians with one thing they hold very dear: campaign cash.\u003c/p>\n\u003cp>As anti-piracy legislation stalled in Congress last week, the movie industry’s top lobbyist, former U.S. Sen. Chris Dodd, warned Democrats not to count on Hollywood money if they turn their backs on the industry’s legislative priority.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\n\u003cp>“Those who count on quote ‘Hollywood’ for support need to understand that this industry is watching very carefully who’s going to stand up for them when their job is at stake. Don’t ask me to write a check for you when you think your job is at risk and then don’t pay any attention to me when my job is at stake.”\u003c/p>\n\u003cp>– Chris Dodd, MPAA Chairman and CEO\u003c/p>\n\u003c/aside>\n\u003cp>Among the biggest recipients of Hollywood money are Californian members of Congress who remain supportive of the controversial anti-piracy bills. Eight Californians in the House of Representatives, as well as Democratic U.S. Sens. Dianne Feinstein and Barbara Boxer, co-sponsored the bills, representing more co-sponsors than from any other state.\u003c/p>\n\u003cp>Boxer was the top Senate recipient of campaign contributions from the movie production industry over the last six years, picking up nearly $413,000, according todata compiled by MapLight.org and the Center for Responsive Politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Democratic Rep. Howard Berman, whose Los Angeles district includes the famed Hollywood sign, is the industry’s top beneficiary in the House, picking up $106,500 in the last two years of reported contributions. Berman was an early co-sponsor of the Stop Online Piracy Act that the Motion Picture Association of America has been pushing. \u003c!--more-->\u003c/p>\n\u003cp>The movie industry and other supporters maintain that the bills, known as \u003ca href=\"http://thomas.loc.gov/cgi-bin/bdquery/z?d112:H.R.3261:\" target=\"_blank\" rel=\"noopener\">SOPA\u003c/a> in the House and \u003ca href=\"http://www.gpo.gov/fdsys/pkg/BILLS-112s968rs/pdf/BILLS-112s968rs.pdf%22\" target=\"_blank\" rel=\"noopener\">PIPA [PDF]\u003c/a> in the Senate, are necessary to fight foreign websites that pirate American films and music. Opponents, including tech companies, claim the bills threaten freedom of expression on the Internet.\u003c/p>\n\u003cp>The debate pits two powerful California industries against each other, but one gives much more political money than the other. In the Senate, for example, MapLight.org \u003ca href=\"http://maplight.org/content/72917\" target=\"_blank\" rel=\"noopener\">found\u003c/a> that the entertainment industry gave $14 million in contributions over the last six years, compared with $2 million from Internet interest groups.\u003c/p>\n\u003cp>The rare admission of the power of campaign contributions from Dodd, a former senator and past presidential candidate, puts a spotlight on the influence of money in this policy debate.\u003c/p>\n\u003cp>“Candidly, those who count on quote ‘Hollywood’ for support need to understand that this industry is watching very carefully who’s going to stand up for them when their job is at stake,” Dodd told \u003ca href=\"http://www.foxnews.com/politics/2012/01/19/exclusive-hollywood-lobbyist-threatens-to-cut-off-obama-2012-money-over-anti/\" target=\"_blank\" rel=\"noopener\">Fox News\u003c/a> last week. “Don’t ask me to write a check for you when you think your job is at risk and then don’t pay any attention to me when my job is at stake.”\u003c/p>\n\u003cp>Dodd, CEO of the movie industry association, added: “I would caution people don’t make the assumption that because the quote ‘Hollywood community’ has been historically supportive of Democrats, which they have, don’t make the false assumptions this year that because we did it in years past, we will do it this year.”\u003c/p>\n\u003cp>Howard Gantman, spokesman for the association, said in an e-mail that Dodd “was merely making the obvious point that people support politicians whose views coincide with their own. When politicians take positions that people disagree with, those people tend not to support those politicians.”\u003c/p>\n\u003cp>Meredith McGehee, policy director of the Washington-based Campaign Legal Center, said Dodd’s statement “reveals how much the current system is legalized bribery.”\u003c/p>\n\u003cp>“It’s notable that it’s coming from someone who was so steeped in the system,” she said.\u003c/p>\n\u003cp>Art Brodsky, spokesman for Public Knowledge, an advocacy group that fought the anti-piracy bills, said campaign contributions have indeed factored into the policy battle.\u003c/p>\n\u003cp>“You’d have to be totally naive not to think so,” he said. “Look at the contributions and look where people were on the issue.”\u003c/p>\n\u003cp>Californian co-sponsors of anti-piracy legislation in the House include Los Angeles-area Democrats Karen Bass, who received nearly $30,000 from the movie industry; Brad Sherman, who got $23,000; and Adam Schiff, who picked up about $19,000. Another co-sponsor, Rep. Mary Bono Mack, a Palm Springs Republican, received almost $22,000 over two years.\u003c/p>\n\u003cp>Technology companies and Internet activists succeeded in stalling the bills despite the fact that Hollywood gives more money. But that doesn’t mean that campaign cash didn’t matter, said McGehee, because the fight isn’t over. “We’re only in round one,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feinstein, who garnered about $146,000 over six years from movie production interests, is working toward compromise legislation. In a statement, Feinstein said: “The only way we can resolve the differences on this bill is by the key CEOs sitting down together.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>from \u003ca href=\"http://californiawatch.org/dailyreport/hollywood-money-flows-calif-politicians-who-support-anti-piracy-bills-14591\">\u003cstrong>California Watch\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Hollywood is threatening politicians with one thing they hold very dear: campaign cash.\u003c/p>\n\u003cp>As anti-piracy legislation stalled in Congress last week, the movie industry’s top lobbyist, former U.S. Sen. Chris Dodd, warned Democrats not to count on Hollywood money if they turn their backs on the industry’s legislative priority.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\n\u003cp>“Those who count on quote ‘Hollywood’ for support need to understand that this industry is watching very carefully who’s going to stand up for them when their job is at stake. Don’t ask me to write a check for you when you think your job is at risk and then don’t pay any attention to me when my job is at stake.”\u003c/p>\n\u003cp>– Chris Dodd, MPAA Chairman and CEO\u003c/p>\n\u003c/aside>\n\u003cp>Among the biggest recipients of Hollywood money are Californian members of Congress who remain supportive of the controversial anti-piracy bills. Eight Californians in the House of Representatives, as well as Democratic U.S. Sens. Dianne Feinstein and Barbara Boxer, co-sponsored the bills, representing more co-sponsors than from any other state.\u003c/p>\n\u003cp>Boxer was the top Senate recipient of campaign contributions from the movie production industry over the last six years, picking up nearly $413,000, according todata compiled by MapLight.org and the Center for Responsive Politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Democratic Rep. Howard Berman, whose Los Angeles district includes the famed Hollywood sign, is the industry’s top beneficiary in the House, picking up $106,500 in the last two years of reported contributions. Berman was an early co-sponsor of the Stop Online Piracy Act that the Motion Picture Association of America has been pushing. \u003c!--more-->\u003c/p>\n\u003cp>The movie industry and other supporters maintain that the bills, known as \u003ca href=\"http://thomas.loc.gov/cgi-bin/bdquery/z?d112:H.R.3261:\" target=\"_blank\" rel=\"noopener\">SOPA\u003c/a> in the House and \u003ca href=\"http://www.gpo.gov/fdsys/pkg/BILLS-112s968rs/pdf/BILLS-112s968rs.pdf%22\" target=\"_blank\" rel=\"noopener\">PIPA [PDF]\u003c/a> in the Senate, are necessary to fight foreign websites that pirate American films and music. Opponents, including tech companies, claim the bills threaten freedom of expression on the Internet.\u003c/p>\n\u003cp>The debate pits two powerful California industries against each other, but one gives much more political money than the other. In the Senate, for example, MapLight.org \u003ca href=\"http://maplight.org/content/72917\" target=\"_blank\" rel=\"noopener\">found\u003c/a> that the entertainment industry gave $14 million in contributions over the last six years, compared with $2 million from Internet interest groups.\u003c/p>\n\u003cp>The rare admission of the power of campaign contributions from Dodd, a former senator and past presidential candidate, puts a spotlight on the influence of money in this policy debate.\u003c/p>\n\u003cp>“Candidly, those who count on quote ‘Hollywood’ for support need to understand that this industry is watching very carefully who’s going to stand up for them when their job is at stake,” Dodd told \u003ca href=\"http://www.foxnews.com/politics/2012/01/19/exclusive-hollywood-lobbyist-threatens-to-cut-off-obama-2012-money-over-anti/\" target=\"_blank\" rel=\"noopener\">Fox News\u003c/a> last week. “Don’t ask me to write a check for you when you think your job is at risk and then don’t pay any attention to me when my job is at stake.”\u003c/p>\n\u003cp>Dodd, CEO of the movie industry association, added: “I would caution people don’t make the assumption that because the quote ‘Hollywood community’ has been historically supportive of Democrats, which they have, don’t make the false assumptions this year that because we did it in years past, we will do it this year.”\u003c/p>\n\u003cp>Howard Gantman, spokesman for the association, said in an e-mail that Dodd “was merely making the obvious point that people support politicians whose views coincide with their own. When politicians take positions that people disagree with, those people tend not to support those politicians.”\u003c/p>\n\u003cp>Meredith McGehee, policy director of the Washington-based Campaign Legal Center, said Dodd’s statement “reveals how much the current system is legalized bribery.”\u003c/p>\n\u003cp>“It’s notable that it’s coming from someone who was so steeped in the system,” she said.\u003c/p>\n\u003cp>Art Brodsky, spokesman for Public Knowledge, an advocacy group that fought the anti-piracy bills, said campaign contributions have indeed factored into the policy battle.\u003c/p>\n\u003cp>“You’d have to be totally naive not to think so,” he said. “Look at the contributions and look where people were on the issue.”\u003c/p>\n\u003cp>Californian co-sponsors of anti-piracy legislation in the House include Los Angeles-area Democrats Karen Bass, who received nearly $30,000 from the movie industry; Brad Sherman, who got $23,000; and Adam Schiff, who picked up about $19,000. Another co-sponsor, Rep. Mary Bono Mack, a Palm Springs Republican, received almost $22,000 over two years.\u003c/p>\n\u003cp>Technology companies and Internet activists succeeded in stalling the bills despite the fact that Hollywood gives more money. But that doesn’t mean that campaign cash didn’t matter, said McGehee, because the fight isn’t over. “We’re only in round one,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feinstein, who garnered about $146,000 over six years from movie production interests, is working toward compromise legislation. In a statement, Feinstein said: “The only way we can resolve the differences on this bill is by the key CEOs sitting down together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cdiv>\n\u003cp>Rachael Myrow here, host of the California Report, with a handful of links to cool and/or important stories outside the Bay Area local readers should check out.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003cstrong>\u003c/strong>\u003c/strong>\u003ca title=\"Pinkberry co-founder Young Lee accused of chasing, beating transient\" href=\"http://www.latimes.com/news/local/la-me-0118-pinkberry-beating-20120118,0,7973509.story\" target=\"_top\" rel=\"noopener\">Pinkberry co-founder Young Lee accused of chasing, beating transient\u003c/a> (Los Angeles Times)\u003c/li>\n\u003cli>\u003ca title=\"L.A. City Council OKs law requiring condom use by porn performers\" href=\"http://www.latimes.com/health/la-me-0118-porn-condoms-20120118,0,5973988.story\" target=\"_top\" rel=\"noopener\">L.A. City Council OKs law requiring condom use by porn performers\u003c/a> (Los Angeles Times)\u003c/li>\n\u003cli>\u003ca title=\"http://www.nytimes.com/2012/01/18/us/teenagers-sharing-passwords-as-show-of-affection.html?emc=tnt&tntemail0=y\" href=\"http://www.nytimes.com/2012/01/18/us/teenagers-sharing-passwords-as-show-of-affection.html?emc=tnt&tntemail0=y\">Teenagers Sharing Passwords as Show of Affection\u003c/a> (New York Times)\u003cstrong>\u003c/strong>\u003c/li>\n\u003cli>\u003ca title=\"http://www.nytimes.com/2012/01/18/business/media/kraft-tries-an-aged-cheese-marketing-campaign.html?emc=tnt&tntemail0=y\" href=\"http://www.nytimes.com/2012/01/18/business/media/kraft-tries-an-aged-cheese-marketing-campaign.html?emc=tnt&tntemail0=y\">Kraft Tries an Aged Cheese Marketing Campaign\u003c/a> (New York Times)\u003c/li>\n\u003cli>\u003ca href=\"http://blogs.wsj.com/marketbeat/2012/01/17/a-california-law-sets-a-governance-hurdle/?KEYWORDS=California\">Apple Shareholders Face California Conundrum\u003c/a> (Wall Street Journal)\u003c/li>\n\u003c/ul>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Video: Jon Stewart Takes on Controversial Apple Supplier Foxconn",
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"content": "\u003cp>Last night on \"The Daily Show,\" Jon Stewart and Co. \u003ca href=\"http://www.thedailyshow.com/watch/mon-january-16-2012/fear-factory?xrs=synd_twitter\">took on Foxconn\u003c/a>, the giant Taiwan-based company that is often cited as the world's largest contract manufacturer of electronics, and especially Apple products -- it turns out tens of millions of iPhones and iPads annually.\u003c/p>\n\u003cp>The huge Foxconn complex in Shenzen, China, however, has become especially notorious for harsh working conditions, which have frequently been blamed for a \u003ca href=\"http://www.nytimes.com/2010/06/07/business/global/07suicide.html\">rash of employee suicides\u003c/a>.\u003c/p>\n\u003cp>Last night, after Stewart called the plant \"an abomination,\" he had a little debate with Siri, the iPhone's chatty personal assistant, about the costs/benefits of cheaper Apple products at the expense of inhumane working conditions.\u003c/p>\n\u003cdiv style=\"background-color: #000000;width: 520px\">\n\u003cdiv style=\"padding: 4px\">\n\u003cp>\u003cobject width=\"512\" height=\"288\" classid=\"d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0\">\u003cparam name=\"src\" value=\"http://media.mtvnservices.com/mgid:cms:video:thedailyshow.com:405953\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"base\" value=\".\">\u003cparam name=\"flashvars\" value=\"\">\u003cembed width=\"512\" height=\"288\" type=\"application/x-shockwave-flash\" src=\"http://media.mtvnservices.com/mgid:cms:video:thedailyshow.com:405953\" allowfullscreen=\"true\" allowscriptaccess=\"always\" base=\".\" flashvars=\"\">\u003c/embed>\u003c/object>\u003c/p>\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/mon-january-16-2012/fear-factory\">The Daily Show\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/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stewart is not the first humorist to address the dichotomy between the company's sleek, cutting-edge products and the squalid environment the people who make them labor in. A year ago, KQED's Cy Musiker \u003ca href=\"http://ww2.kqed.org/news/2011/01/24/mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs/\">talked to monogolist Mike Daisey\u003c/a>, whose Berkeley Rep show \u003ca href=\"http://www.berkeleyrep.org/season/1011/4550.asp\">The Agony and Ecstasy of Steve Jobs\u003c/a> recounted his trip to Foxconn, where he gained access to workers by posing as a prospective company client.\u003c/p>\n\u003cp>\"Rarely are two worlds more divorced that are so integrated,\" Daisey said. \"Our choices of devices are a little bit like a religion...I was a very devout follower of Apple and of technology...the consequence of the trip for me is that I lost my faith. I don't enjoy technology...in the same way (because) I know intimately what went into their creation. We are obsessed with design, and then we do everything in our power to have no idea how these things are actually made. It's an incredible, pathetic disgrace... There's an utter silence over the entire field.\"\u003c/p>\n\u003cp>Perhaps not an \u003cem>utter\u003c/em> silence, anymore. Last week, Apple announced it \u003ca href=\"https://www.fairlabor.org/fla/Public/pub/Images_XFile/R514/Apple_Joins_FLA.pdf\">would become a Participating Company in the Fair Labor Association\u003c/a> (pdf), a watchdog group that \"places the onus on companies to voluntarily achieve the FLA’s labor standards in the factories manufacturing their products.\"\u003c/p>\n\u003cp>From a \u003ca href=\"http://www.bloomberg.com/news/2012-01-13/apple-opens-suppliers-doors-to-labor-group-after-foxconn-worker-suicides.html\">Bloomberg article on the announcement\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Apple’s biggest supplier, Taiwan’s Foxconn, has been a subject of scrutiny after at least 12 workers have committed suicide at its plants in China. Three died last year and more than 70 were hurt in blasts at two iPad facilities, one of which was also owned by Foxconn. In response to pressure from Apple and the media, Foxconn more than doubled wages in 2010 for some workers in China and employed counselors.\u003c/p>\u003c/blockquote>\n\u003cp>Problems, however, still remain. A protest last week \"involved threats from some workers to commit suicide,\" according to the \u003ca href=\"http://www.nytimes.com/2012/01/13/technology/foxconn-resolves-pay-dispute-with-workers.html\">New York Times\u003c/a>.\u003c/p>\n\u003cp>KQED Radio's Forum program discussed the issue today. The show will be \u003ca href=\"http://www.kqed.org/a/forum/R201201170900\">archived here\u003c/a> and has already generated a fair amount of\u003ca href=\"http://www.kqed.org/a/forum/R201201170900#disqus_thread\"> comments\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can also \u003ca href=\"http://www.thisamericanlife.org/radio-archives/episode/454/mr-daisey-and-the-apple-factory\">listen to Mike Daisey perform an adapted excerpt\u003c/a> from his \"Steve Jobs\" show at \u003cem>This American Life\u003c/em>'s web site.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stewart is not the first humorist to address the dichotomy between the company's sleek, cutting-edge products and the squalid environment the people who make them labor in. A year ago, KQED's Cy Musiker \u003ca href=\"http://ww2.kqed.org/news/2011/01/24/mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs/\">talked to monogolist Mike Daisey\u003c/a>, whose Berkeley Rep show \u003ca href=\"http://www.berkeleyrep.org/season/1011/4550.asp\">The Agony and Ecstasy of Steve Jobs\u003c/a> recounted his trip to Foxconn, where he gained access to workers by posing as a prospective company client.\u003c/p>\n\u003cp>\"Rarely are two worlds more divorced that are so integrated,\" Daisey said. \"Our choices of devices are a little bit like a religion...I was a very devout follower of Apple and of technology...the consequence of the trip for me is that I lost my faith. I don't enjoy technology...in the same way (because) I know intimately what went into their creation. We are obsessed with design, and then we do everything in our power to have no idea how these things are actually made. It's an incredible, pathetic disgrace... There's an utter silence over the entire field.\"\u003c/p>\n\u003cp>Perhaps not an \u003cem>utter\u003c/em> silence, anymore. Last week, Apple announced it \u003ca href=\"https://www.fairlabor.org/fla/Public/pub/Images_XFile/R514/Apple_Joins_FLA.pdf\">would become a Participating Company in the Fair Labor Association\u003c/a> (pdf), a watchdog group that \"places the onus on companies to voluntarily achieve the FLA’s labor standards in the factories manufacturing their products.\"\u003c/p>\n\u003cp>From a \u003ca href=\"http://www.bloomberg.com/news/2012-01-13/apple-opens-suppliers-doors-to-labor-group-after-foxconn-worker-suicides.html\">Bloomberg article on the announcement\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Apple’s biggest supplier, Taiwan’s Foxconn, has been a subject of scrutiny after at least 12 workers have committed suicide at its plants in China. Three died last year and more than 70 were hurt in blasts at two iPad facilities, one of which was also owned by Foxconn. In response to pressure from Apple and the media, Foxconn more than doubled wages in 2010 for some workers in China and employed counselors.\u003c/p>\u003c/blockquote>\n\u003cp>Problems, however, still remain. A protest last week \"involved threats from some workers to commit suicide,\" according to the \u003ca href=\"http://www.nytimes.com/2012/01/13/technology/foxconn-resolves-pay-dispute-with-workers.html\">New York Times\u003c/a>.\u003c/p>\n\u003cp>KQED Radio's Forum program discussed the issue today. The show will be \u003ca href=\"http://www.kqed.org/a/forum/R201201170900\">archived here\u003c/a> and has already generated a fair amount of\u003ca href=\"http://www.kqed.org/a/forum/R201201170900#disqus_thread\"> comments\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can also \u003ca href=\"http://www.thisamericanlife.org/radio-archives/episode/454/mr-daisey-and-the-apple-factory\">listen to Mike Daisey perform an adapted excerpt\u003c/a> from his \"Steve Jobs\" show at \u003cem>This American Life\u003c/em>'s web site.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Interview: Jonathan Moscone on 'Ghost Light' and Dealing With Death of His Father, George Moscone",
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"content": "\u003cp>Back in July, I wrote this in a post about the world premiere of \u003cem>Ghost Light\u003c/em> at the Oregon Shakespeare Festival:\u003c/p>\n\u003cblockquote>\u003cp>When Some events are so much larger than life that one can really only apprehend them on a grand scale, as part of the sweep of history and not occurrences that turned the lives of actual individuals upside down.\u003c/p>\n\u003cp>Arguably, the assassination of Harvey Milk has become such an event. Over the years, as it’s become iconized in documentary, opera, and major motion picture, one begins to understand how the murder of his co-victim, San Francisco Mayor George Moscone, became relegated to almost an after-thought.\u003c/p>\n\u003cp>But if Moscone lives on in the public’s consciousness as merely a subset of the Milk story, he plays a much bigger part in the mindset of Jonathan Moscone. He’s the \u003ca href=\"http://www.calshakes.org/\">Artistic Director of California Shakespeare Theater\u003c/a> who shares a last name with the former mayor because he happens to be his son.\u003c/p>\n\u003cp>Moscone delves into the effect of his father’s death on the 14-year-old boy that he was and the man that he became in \u003ca href=\"http://www.osfashland.org/browse/production.aspx?prod=207\">\u003cem>Ghost Light\u003c/em>\u003c/a>, which he conceived with Berkeley Rep’s \u003ca href=\"http://www.berkeleyrep.org/html/abouttherep/staff.html\">Tony Taccone\u003c/a>, who also wrote the script. \u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight-300x88.jpg\" alt=\"\" title=\"ghostlight\" width=\"300\" height=\"88\" class=\"aligncenter size-medium wp-image-52932\">\u003c/a>\u003c/p>\n\u003cp>Last night, \u003cem>Ghost Light\u003c/em> opened at \u003ca href=\"http://www.berkeleyrep.org/season/1112/5357.asp\">Berkeley Rep\u003c/a>. Reviews from \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/12/DD181MM3KV.DTL\">Robert Hurwitt in the Chronicle \u003c/a>and \u003ca href=\"http://www.mercurynews.com/entertainment-headlines/ci_19728795\">Karen D’Souza in the San Jose Mercury News\u003c/a> are extremely positive.\u003c/p>\n\u003cp>KQED’s Cy Musiker interviewed Moscone, who also directed the play, during its Ashland run in July. Moscone talked about his family and the emotions he has had to cope with around his father’s death. Parts of the conversation are below; an edited transcript follows each audio clip:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3\">\u003cstrong>Jonathan Moscone on the eclipsing of his father’s death by that of Harvey Milk\u003c/strong> \u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3|titles=moscone1fatherpolitics]\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>It seems that your father’s story has been eclipsed by his fellow victim and the way that the gay movement has enshrined him. Why should George Moscone’s story be told, and why is that only a small piece of this story? \u003c/strong>\u003c/p>\n\u003cp>It’s actually the subtext of the entire play, the fact that he has been suppressed in the national consciousness, but also in the consciousness of the boy, the man, the son in the play. A lot of the play is about the fact that he’s repressed the kind of mourning that would keep his father alive for him.\u003c/p>\n\u003cp>And I think we as a country, we don’t mourn past a certain point. Back in the 1970s when this all happened, it turned pretty quickly into the 80s and Reagan, and the city of San Francisco grew exponentially; developed so fast and it changed its look and face forever. I think what started to submerge is the need for progressive politics, the definition of progressive politics as a necessary response to a status quo that had been running the country. Now progressivism is an extremist term.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3\">\u003cstrong>On the connection of a particular scene to his life as a boy\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3|titles=moscone2etchsketch]\u003c/p>\n\u003cblockquote>\u003cp>I went to therapy when I was a kid, before my dad died, actually, and not after. Because I thought he was going to be killed, and I used to freak out and not want him to leave the house. So I remember going to a therapist, and one time I brought my Etch A Sketch with me…no, it was a Spirograph, but that’s not an easy prop to get on and off stage and to act with.\u003c/p>\n\u003cp>The iconography of this child’s life in the ’70s was the Etch a Sketch, the OP shirt, the watching “Thunderbirds are Go: on TV. That was my childhood. If I were to do any story of a child, I would probably reference those things. The Etch a Sketch was also his way of connecting to a reality that existed before his father died.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3\">\u003cstrong>On the main character’s self-hatred, and on his grandfather\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3|titles=moscone3]\u003c/p>\n\u003cblockquote>\u003cp>…The character of Jon uses Dan White’s gun, the .38 Smith & Wesson, to motivate him into killing off a part of himself that he hates.\u003c/p>\n\u003cp>\u003cstrong>What is that part? \u003c/strong>\u003c/p>\n\u003cp>It’s a hundred things. One of them is his self-hatred as a gay man. His anger at losing his dad. The part of himself that’s protecting himself. There’s a line in the play where Jon admits he always thought it was his mother who was trying to protect herself from grieving so she could hold on to her husband. But he realizes he’s the one that’s been holding on. And the boy right from the beginning is not going to let go.\u003c/p>\n\u003cp>That seeps into the character, so that 33 years later, what the character has done is create a kind of a shell of a human being that has a lot of self- motivated anger and cynicism and bitterness and incapacity for intimacy, and all that is in the body of a self that needs to be killed.\u003c/p>\n\u003cp>And that is embodied theatrically by his grandfather, whom he doesn’t recognize as his grandfather, because — as in my story — he never met his grandfather. In fact none of us met my grandfather. He was excised from my parents life from when my father was very young. We never talked about him. All I know about him is that he was a prison guard at San Quentin.\u003c/p>\n\u003cp>I think it might be an apocryphal story about him — but bringing my dad to San Quentin was one of the instigating reasons for my dad’s very strong stand against capital punishment.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3\">\u003cstrong>On the privacy of pain and the issue of his father’s tombstone\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3|titles=moscone4tombstone]\u003c/p>\n\u003cblockquote>\u003cp>What Tony’s done in the play a lot is taken stories that I told him and almost like a psychiatrist translate them into a dramatic idea. Tony asked me what the name of my grandfather is. I answered it, and he called me and said “you’re wrong.” I said “really? I had no idea.”\u003c/p>\n\u003cp>And it’s about owning your own. It’s so private, so private, and someone gets inside of your own privacy, which is so insinuating. But what else are you going to do when you’re not accessing him. Jon refuses to meet (the character of) Basil, so what else is Basil going to do? He ‘s going to spend hours online researching him and his father.\u003c/p>\n\u003cp>There’s a site online called findagrave.com. For real. People can actually find a grave and read a grave site. It’s like people who slow down and watch accidents. Why are you watching other people’s pain? Why are you watching that happen? Why are you investigating it? It’s not yours.\u003c/p>\n\u003cp>And I finally admitted today, as I was looking at the grave site in the play, that I used to be much like Jon’s character, kind of angry at my mother, thinking it was inappropriate that it was a small, regular tombstone in Colma.\u003c/p>\n\u003cp>I finally admitted that my mother was onto something. It was kind of a classy move on her part to not erect a statue like Eva Peron or something. It was just about the family. He’s got a parking garage and a convention center and a couple of delicatessens and a park named after him. And the place where he died is just about us losing him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3\">\u003cstrong>On his lack of knowledge about his father\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3|titles=moscone5memory]\u003c/p>\n\u003cp>\u003cstrong>There’s a certain jealousy of the character, toward others who perhaps know his father better. How does that work in the character’s mind, or how did you experience it? \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>There’s a documentary film that’s being made about my father, and there are people who have been talking about him, and I have been asked questions by the documentarian, and I’m like, “I have no idea.”\u003c/p>\n\u003cp>I ran into Phil Bronstein the other night, who covered my dad and knew him, and he was telling me stuff. And I’m like, Phil Bronstein knew this about George? I can barely remember him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3\">\u003cstrong>On the inadequacy of the biographical form in narrative works\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3|titles=moscone6bio]\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>The play is kind of a memoir but its not. How do you avoid the pitfall that it’ll be an act of self-pity to put on this play?\u003c/strong>\u003c/p>\n\u003cp>The head of the stagehands here said to me, “I thought I was going to hate you, I thought this was going to be some self-indulgent pity party, that it was going to be all about you. And it’s not like that at all.”\u003c/p>\n\u003cp>I’m not the smartest fellow in the world, but I had a really good instinct, that right when (Oregon Shakespeare Festival Artistic Director) Bill Rauch and I first thought of working on this, I knew I needed a colleague, one that was not going to be a subservient chronicler of my story.\u003c/p>\n\u003cp>The only biopic I’ve ever liked was the movie \u003cem>I’m Not There\u003c/em>. Because it admits it can’t ever begin to capture Bob Dylan. Because it’s a lie and a fantasy. And I felt at the end that I knew Bob Dylan more than I knew Ray Charles in \u003cem>Ray\u003c/em>or Johnny Cash in \u003cem>Ring of Fire\u003c/em>. In \u003cem>Milk\u003c/em>, there’s as much fantasy in that movie as there is fact. And yet it’s called Milk. So why is that any truer?\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ghost Light\u003c/em> runs at Berkeley Rep through Feb 19.\u003c/p>\n\n",
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"title": "Interview: Jonathan Moscone on 'Ghost Light' and Dealing With Death of His Father, George Moscone | KQED",
"description": "Back in July, I wrote this in a post about the world premiere of Ghost Light at the Oregon Shakespeare Festival: When Some events are so much larger than life that one can really only apprehend them on a grand scale, as part of the sweep of history and not occurrences that turned the lives",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in July, I wrote this in a post about the world premiere of \u003cem>Ghost Light\u003c/em> at the Oregon Shakespeare Festival:\u003c/p>\n\u003cblockquote>\u003cp>When Some events are so much larger than life that one can really only apprehend them on a grand scale, as part of the sweep of history and not occurrences that turned the lives of actual individuals upside down.\u003c/p>\n\u003cp>Arguably, the assassination of Harvey Milk has become such an event. Over the years, as it’s become iconized in documentary, opera, and major motion picture, one begins to understand how the murder of his co-victim, San Francisco Mayor George Moscone, became relegated to almost an after-thought.\u003c/p>\n\u003cp>But if Moscone lives on in the public’s consciousness as merely a subset of the Milk story, he plays a much bigger part in the mindset of Jonathan Moscone. He’s the \u003ca href=\"http://www.calshakes.org/\">Artistic Director of California Shakespeare Theater\u003c/a> who shares a last name with the former mayor because he happens to be his son.\u003c/p>\n\u003cp>Moscone delves into the effect of his father’s death on the 14-year-old boy that he was and the man that he became in \u003ca href=\"http://www.osfashland.org/browse/production.aspx?prod=207\">\u003cem>Ghost Light\u003c/em>\u003c/a>, which he conceived with Berkeley Rep’s \u003ca href=\"http://www.berkeleyrep.org/html/abouttherep/staff.html\">Tony Taccone\u003c/a>, who also wrote the script. \u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight-300x88.jpg\" alt=\"\" title=\"ghostlight\" width=\"300\" height=\"88\" class=\"aligncenter size-medium wp-image-52932\">\u003c/a>\u003c/p>\n\u003cp>Last night, \u003cem>Ghost Light\u003c/em> opened at \u003ca href=\"http://www.berkeleyrep.org/season/1112/5357.asp\">Berkeley Rep\u003c/a>. Reviews from \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/12/DD181MM3KV.DTL\">Robert Hurwitt in the Chronicle \u003c/a>and \u003ca href=\"http://www.mercurynews.com/entertainment-headlines/ci_19728795\">Karen D’Souza in the San Jose Mercury News\u003c/a> are extremely positive.\u003c/p>\n\u003cp>KQED’s Cy Musiker interviewed Moscone, who also directed the play, during its Ashland run in July. Moscone talked about his family and the emotions he has had to cope with around his father’s death. Parts of the conversation are below; an edited transcript follows each audio clip:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3\">\u003cstrong>Jonathan Moscone on the eclipsing of his father’s death by that of Harvey Milk\u003c/strong> \u003c/a>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>It seems that your father’s story has been eclipsed by his fellow victim and the way that the gay movement has enshrined him. Why should George Moscone’s story be told, and why is that only a small piece of this story? \u003c/strong>\u003c/p>\n\u003cp>It’s actually the subtext of the entire play, the fact that he has been suppressed in the national consciousness, but also in the consciousness of the boy, the man, the son in the play. A lot of the play is about the fact that he’s repressed the kind of mourning that would keep his father alive for him.\u003c/p>\n\u003cp>And I think we as a country, we don’t mourn past a certain point. Back in the 1970s when this all happened, it turned pretty quickly into the 80s and Reagan, and the city of San Francisco grew exponentially; developed so fast and it changed its look and face forever. I think what started to submerge is the need for progressive politics, the definition of progressive politics as a necessary response to a status quo that had been running the country. Now progressivism is an extremist term.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3\">\u003cstrong>On the connection of a particular scene to his life as a boy\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>I went to therapy when I was a kid, before my dad died, actually, and not after. Because I thought he was going to be killed, and I used to freak out and not want him to leave the house. So I remember going to a therapist, and one time I brought my Etch A Sketch with me…no, it was a Spirograph, but that’s not an easy prop to get on and off stage and to act with.\u003c/p>\n\u003cp>The iconography of this child’s life in the ’70s was the Etch a Sketch, the OP shirt, the watching “Thunderbirds are Go: on TV. That was my childhood. If I were to do any story of a child, I would probably reference those things. The Etch a Sketch was also his way of connecting to a reality that existed before his father died.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3\">\u003cstrong>On the main character’s self-hatred, and on his grandfather\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>…The character of Jon uses Dan White’s gun, the .38 Smith & Wesson, to motivate him into killing off a part of himself that he hates.\u003c/p>\n\u003cp>\u003cstrong>What is that part? \u003c/strong>\u003c/p>\n\u003cp>It’s a hundred things. One of them is his self-hatred as a gay man. His anger at losing his dad. The part of himself that’s protecting himself. There’s a line in the play where Jon admits he always thought it was his mother who was trying to protect herself from grieving so she could hold on to her husband. But he realizes he’s the one that’s been holding on. And the boy right from the beginning is not going to let go.\u003c/p>\n\u003cp>That seeps into the character, so that 33 years later, what the character has done is create a kind of a shell of a human being that has a lot of self- motivated anger and cynicism and bitterness and incapacity for intimacy, and all that is in the body of a self that needs to be killed.\u003c/p>\n\u003cp>And that is embodied theatrically by his grandfather, whom he doesn’t recognize as his grandfather, because — as in my story — he never met his grandfather. In fact none of us met my grandfather. He was excised from my parents life from when my father was very young. We never talked about him. All I know about him is that he was a prison guard at San Quentin.\u003c/p>\n\u003cp>I think it might be an apocryphal story about him — but bringing my dad to San Quentin was one of the instigating reasons for my dad’s very strong stand against capital punishment.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3\">\u003cstrong>On the privacy of pain and the issue of his father’s tombstone\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>What Tony’s done in the play a lot is taken stories that I told him and almost like a psychiatrist translate them into a dramatic idea. Tony asked me what the name of my grandfather is. I answered it, and he called me and said “you’re wrong.” I said “really? I had no idea.”\u003c/p>\n\u003cp>And it’s about owning your own. It’s so private, so private, and someone gets inside of your own privacy, which is so insinuating. But what else are you going to do when you’re not accessing him. Jon refuses to meet (the character of) Basil, so what else is Basil going to do? He ‘s going to spend hours online researching him and his father.\u003c/p>\n\u003cp>There’s a site online called findagrave.com. For real. People can actually find a grave and read a grave site. It’s like people who slow down and watch accidents. Why are you watching other people’s pain? Why are you watching that happen? Why are you investigating it? It’s not yours.\u003c/p>\n\u003cp>And I finally admitted today, as I was looking at the grave site in the play, that I used to be much like Jon’s character, kind of angry at my mother, thinking it was inappropriate that it was a small, regular tombstone in Colma.\u003c/p>\n\u003cp>I finally admitted that my mother was onto something. It was kind of a classy move on her part to not erect a statue like Eva Peron or something. It was just about the family. He’s got a parking garage and a convention center and a couple of delicatessens and a park named after him. And the place where he died is just about us losing him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3\">\u003cstrong>On his lack of knowledge about his father\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There’s a certain jealousy of the character, toward others who perhaps know his father better. How does that work in the character’s mind, or how did you experience it? \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>There’s a documentary film that’s being made about my father, and there are people who have been talking about him, and I have been asked questions by the documentarian, and I’m like, “I have no idea.”\u003c/p>\n\u003cp>I ran into Phil Bronstein the other night, who covered my dad and knew him, and he was telling me stuff. And I’m like, Phil Bronstein knew this about George? I can barely remember him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3\">\u003cstrong>On the inadequacy of the biographical form in narrative works\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>The play is kind of a memoir but its not. How do you avoid the pitfall that it’ll be an act of self-pity to put on this play?\u003c/strong>\u003c/p>\n\u003cp>The head of the stagehands here said to me, “I thought I was going to hate you, I thought this was going to be some self-indulgent pity party, that it was going to be all about you. And it’s not like that at all.”\u003c/p>\n\u003cp>I’m not the smartest fellow in the world, but I had a really good instinct, that right when (Oregon Shakespeare Festival Artistic Director) Bill Rauch and I first thought of working on this, I knew I needed a colleague, one that was not going to be a subservient chronicler of my story.\u003c/p>\n\u003cp>The only biopic I’ve ever liked was the movie \u003cem>I’m Not There\u003c/em>. Because it admits it can’t ever begin to capture Bob Dylan. Because it’s a lie and a fantasy. And I felt at the end that I knew Bob Dylan more than I knew Ray Charles in \u003cem>Ray\u003c/em>or Johnny Cash in \u003cem>Ring of Fire\u003c/em>. In \u003cem>Milk\u003c/em>, there’s as much fantasy in that movie as there is fact. And yet it’s called Milk. So why is that any truer?\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You may have read the \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/10/DD141MKSTA.DTL\">\u003cstrong>profile in the San Francisco Chronicle yesterday of Cheryl Cohen Greene\u003c/strong>\u003c/a>, a Berkeley \"surrogate partner\" who works with mostly men suffering from sexual dysfunction, frequently having intercourse with them.\u003c/p>\n\u003cp>One of her clients was the late, disabled Berkeley journalist and poet Mark O'Brien, who was the subject of the 1997 Academy Award winner for best documentary\u003cem>, \u003ca href=\"http://truelives.org/pg_breathinglessons.html\">Breathing Lessons: The Life and Work of Mark O'Brien\u003c/a>\u003c/em>. The Chronicle piece addresses O'Brien's relationship with Cohen Greene:\u003c/p>\n\u003cblockquote>\u003cp>Mark O'Brien, was stricken with polio at 6 and spent most of his life in an iron lung. In 1986, when O'Brien was 36 and a virgin, he hired Cohen Greene as his surrogate partner. They met six times and remained friends until O'Brien's death in 1999...\u003c/p>\n\u003cp>When Cohen Greene met Mark O'Brien, she had already seen several disabled clients - men with spina bifida, cerebral palsy, muscular dystrophy, multiple sclerosis and quadriplegia. From the beginning, she was drawn to his caustic wit and nimble mind, his longing for connection.\u003c/p>\n\u003cp>\"He told me nobody had ever touched him other than to bathe him, dress him or do a medical procedure. He said that he felt like he was on the outside of a fine restaurant, looking in the window. Everybody in there is having a feast, but he'll never be able to taste that food.\"\u003c/p>\n\u003cp>Living alone in a Berkeley apartment, O'Brien wrote his poems and stories holding a mouth stick between his teeth and tapping on a computer keyboard. He was 4 feet 7 and 60 pounds, paralyzed except for one muscle in his right foot, one in his neck and one in his jaw. With the help of an attendant, he could get out of his iron lung and into an electric gurney - enclosed in a plastic bubble - that allowed him to navigate the streets of Berkeley.\u003c/p>\n\u003cp>Once, Cohen Greene says, \"I was exploring and touching Mark. And when I got to his chest I kissed him on the top of his chest. He started to cry. He said nobody had ever kissed him like that before.\u003c/p>\n\u003cp>\"There's a huge population of people with genetic or acquired disabilities who never have a chance to be intimate with someone. Everything is addressed but their sexuality even though their sex drive and sexual curiosity are just as intense as everybody else's.\"\u003c/p>\u003c/blockquote>\n\u003cp>O'Brien eventually met a woman whom he had a relationship with:\u003c/p>\n\u003cp>\"He had a Web page for his poetry and journalism, and a wonderful woman named Susan found him that way and connected with him. I met her and I was really thrilled. Mark told me, 'I was able to say to her when I met her, 'You know, I'm not a virgin.'\"\u003c/p>\n\u003cp>This year's \u003ca href=\"https://www.sundance.org/festival/\">Sundance Film Festival\u003c/a>, which opens next week, will include a film based on the relationship between O'Brien and Cohen Green. \u003ca href=\"http://filmguide.sundance.org/film/120063/the_surrogate\">\u003cem>The Surrogate\u003c/em>\u003c/a> stars Helen Hunt and John Hawkes in the lead roles. You can \u003ca href=\"http://www.youtube.com/watch?v=SnUuVxL0UJ4&feature=player_embedded#!\">watch the film's writer/director Ben Lewin talking about the film\u003c/a> below: \u003c/p>\n\u003cdiv style=\"text-align: center\">\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/SnUuVxL0UJ4\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>This \u003ca href=\"http://www.salon.com/1999/07/12/obrien/\">tribute to O'Brien\u003c/a> upon his death, written by Lorenzo W. Milam in Salon, includes one of his poems, called \"Lifestyles of the Blind and Paralyzed\":\u003c/p>\n\u003cp> The pay is lousy,\u003cbr>\n no vacations or sick leave,\u003cbr>\n and the compliments …\u003cbr>\n You’d rather do without them.\u003c/p>\n\u003cp> On the plus side,\u003cbr>\n you’re exempt from military service,\u003cbr>\n get to watch lots of TV\u003cbr>\n and pay half price at the movies.\u003c/p>\n\u003cp> They’re out there, my public,\u003cbr>\n dying to ask me what happened to you,\u003cbr>\n wondering how I pee\u003cbr>\n and using me as proof\u003c/p>\n\u003cp> that God is just\u003cbr>\n and punishes only the wicked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And here are two more poems, \"\u003ca href=\"http://www.oac.cdlib.org/ark:/13030/hb0779n3xr/?brand=oac4\">Walkers\u003c/a>\" and \"\u003ca href=\"http://www.oac.cdlib.org/ark:/13030/hb0x0n9824/?brand=oac4\">Mrs. Garcia\u003c/a>\".\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have read the \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/10/DD141MKSTA.DTL\">\u003cstrong>profile in the San Francisco Chronicle yesterday of Cheryl Cohen Greene\u003c/strong>\u003c/a>, a Berkeley \"surrogate partner\" who works with mostly men suffering from sexual dysfunction, frequently having intercourse with them.\u003c/p>\n\u003cp>One of her clients was the late, disabled Berkeley journalist and poet Mark O'Brien, who was the subject of the 1997 Academy Award winner for best documentary\u003cem>, \u003ca href=\"http://truelives.org/pg_breathinglessons.html\">Breathing Lessons: The Life and Work of Mark O'Brien\u003c/a>\u003c/em>. The Chronicle piece addresses O'Brien's relationship with Cohen Greene:\u003c/p>\n\u003cblockquote>\u003cp>Mark O'Brien, was stricken with polio at 6 and spent most of his life in an iron lung. In 1986, when O'Brien was 36 and a virgin, he hired Cohen Greene as his surrogate partner. They met six times and remained friends until O'Brien's death in 1999...\u003c/p>\n\u003cp>When Cohen Greene met Mark O'Brien, she had already seen several disabled clients - men with spina bifida, cerebral palsy, muscular dystrophy, multiple sclerosis and quadriplegia. From the beginning, she was drawn to his caustic wit and nimble mind, his longing for connection.\u003c/p>\n\u003cp>\"He told me nobody had ever touched him other than to bathe him, dress him or do a medical procedure. He said that he felt like he was on the outside of a fine restaurant, looking in the window. Everybody in there is having a feast, but he'll never be able to taste that food.\"\u003c/p>\n\u003cp>Living alone in a Berkeley apartment, O'Brien wrote his poems and stories holding a mouth stick between his teeth and tapping on a computer keyboard. He was 4 feet 7 and 60 pounds, paralyzed except for one muscle in his right foot, one in his neck and one in his jaw. With the help of an attendant, he could get out of his iron lung and into an electric gurney - enclosed in a plastic bubble - that allowed him to navigate the streets of Berkeley.\u003c/p>\n\u003cp>Once, Cohen Greene says, \"I was exploring and touching Mark. And when I got to his chest I kissed him on the top of his chest. He started to cry. He said nobody had ever kissed him like that before.\u003c/p>\n\u003cp>\"There's a huge population of people with genetic or acquired disabilities who never have a chance to be intimate with someone. Everything is addressed but their sexuality even though their sex drive and sexual curiosity are just as intense as everybody else's.\"\u003c/p>\u003c/blockquote>\n\u003cp>O'Brien eventually met a woman whom he had a relationship with:\u003c/p>\n\u003cp>\"He had a Web page for his poetry and journalism, and a wonderful woman named Susan found him that way and connected with him. I met her and I was really thrilled. Mark told me, 'I was able to say to her when I met her, 'You know, I'm not a virgin.'\"\u003c/p>\n\u003cp>This year's \u003ca href=\"https://www.sundance.org/festival/\">Sundance Film Festival\u003c/a>, which opens next week, will include a film based on the relationship between O'Brien and Cohen Green. \u003ca href=\"http://filmguide.sundance.org/film/120063/the_surrogate\">\u003cem>The Surrogate\u003c/em>\u003c/a> stars Helen Hunt and John Hawkes in the lead roles. You can \u003ca href=\"http://www.youtube.com/watch?v=SnUuVxL0UJ4&feature=player_embedded#!\">watch the film's writer/director Ben Lewin talking about the film\u003c/a> below: \u003c/p>\n\u003cdiv style=\"text-align: center\">\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/SnUuVxL0UJ4\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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