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"excerpt": "Here's something you don't hear from a lot of nine-year-olds:\r\n\r\n\"The second opera I heard -- the first I saw -- was Puccini's 'La Fanchula del West.' Then I saw four other operas, including Wagner's 'Die Walkure.' Now I'm waiting to see 'Seigfried' at the Met.\"\r\n\r\nCome to think of it, I'm not sure you'd hear that from a lot of adults these days either. (I once saw an opera -- Tommy.)\r\n\r\nThis could go viral -- better get in on the ground floor now.",
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"content": "\u003cfigure id=\"attachment_42809\" class=\"wp-caption alignright\" style=\"max-width: 150px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/kusflogo.jpeg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/kusflogo.jpeg\" alt=\"\" title=\"kusflogo\" width=\"150\" height=\"150\" class=\"size-full wp-image-42809\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KUSF, no longer heard on 90.3 FM\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of college radio stations around the country came together yesterday to proclaim Oct 11 College Radio Day. The celebration of stations that often have a cult following came amidst a particularly trying time for the format. From the Washington Post:\u003c/p>\n\u003cblockquote>\u003cp>Quirky, loud and unpredictable, college radio has dwelt for a half-century at the left of the dial, a youthful counterpart to public radio. The genre seeded protest in the ’70s and launched the careers of U2 and R.E.M. in the ’80s, but now finds itself under siege. Over the past decade, the economics of radio have pushed more than a dozen major stations off the airwaves.\u003c/p>\n\u003cp>One by one, universities are selling off stations to raise cash. FM licenses in major markets are worth millions. Recent sales include KUSF at the University of San Francisco, KTRU at Rice University in Houston and WXEL at Barry University in Miami.\u003c/p>\u003c/blockquote>\n\u003cp>The January sale of KUSF to the Classical Public Radio Network, just one transaction in a \u003ca href=\"http://ww2.kqed.org/news/2011/01/18/kusf-to-leave-air-move-to-online-online-broadast/\">multi-station radio shake-up\u003c/a> of the Bay Area dial, set off strenuous protests by the station's staff and fans. Many of the DJs and programmers moved to the online-only KUSF in Exile (\u003ca href=\"http://kusfinexile.tumblr.com/\">\u003cstrong>listen here\u003c/strong>\u003c/a>), an effort to keep the music playing while KUSF's sale of its license awaits FCC approval. From the \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/09/15/PK5Q1L1CAA.DTL&ao=all#ixzz1YSqfsnTW\">San Francisco Chronicle\u003c/a> last month: \u003c/p>\n\u003cblockquote>\u003cp>Eight months after the deal that moved KDFC from 102.1 to 90.3 FM, which long had been home to iconic college station KUSF, the sale is still awaiting Federal Communications Commission approval. The delay may be due, at least in part, to the protests that began soon after KUSF was unplugged.\n\u003c/p>\u003c/blockquote>\n\u003cp>KQED's Nina Thorsen spoke yesterday with KUSF Music Director Irwin Swirnoff, who online deejays the sa,e Friday morning show he did when the station was heard on the radio. Swirnoff talked about the current effort by KUSF supporters to get the FCC to hold public hearings on the sale and why he thinks it's so important to preserve college radio in a community.\u003c/p>\n\u003cp>Below is an edited transcript of the interview...\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>What's the current status of KUSF?\u003c/strong>\u003c/p>\n\u003cp>We launched KUSF in Exile while we wait for and continue to work on getting this proposed sale of KUSF stopped. It's still not been finalized by the FCC. We've been successful in delaying the finalization of the sale, and we've been happy to see that the FCC is paying close attention to it. They're investigating the sale, they sent letters of inquiry to USF and the buyer, and we're hopeful that we have a chance to get public hearings on this matter. \u003c!--more-->\u003c/p>\n\u003cp>\u003cstrong>What would be the time frame of that? \u003c/strong>\u003c/p>\n\u003cp>When you're dealing with the FCC, the time frame is always anybody's guess. We're hoping that before year's end, the FCC would either grant public hearings or make a decision one way or the other. We know that they're taking their time with all of the inquiries they asked for and are going through the responses. It could be November or December or it could go into next year. \u003c/p>\n\u003cp>\u003cstrong>And while this is happening you've got KUSF in Exile broadcasting online…\u003c/strong>\u003c/p>\n\u003cp>Yes. That came out of this really amazing moment that's come out of the tragedy that happened to KUSF and other college radio stations, where the stations are forming close bonds and unifying. WFMU on the east coast, for instance, stepped forward to host our stream, and we've experienced this camaraderie with stations around the country. This culminated with WFMU coming to town in Feburary, and we webcast live out of Amoeba (the record store in the Mission) on 15 stations around the country. That was the launch of KUSF in Exile. \u003c/p>\n\u003cp>\u003cstrong>Talk about philosophically why you think a college should have a radio station. \u003c/strong>\u003c/p>\n\u003cp>I think a college with a licensed radio station has a unique opportunity to link the university into the city in which its participating and engaging with. At KUSF that's exactly what was happening. We had programming in 12 different languages, really unique and forward thinking music programming. This allowed student and faculty to engage with what's happening on campus but make those connections throughout the city. \u003c/p>\n\u003cp>What we're ultimately fighting is not so much USF deciding it wants to sell the station, but shutting out the community that ran the station and doing it behind our backs and not allowing the community and students and faculty to come together and raise the money to buy the transmitter. \u003c/p>\n\u003cp>We think the station is an asset that provides the ability to attract new students and to use it as a living laboratory, so that you're no longer just talking about ideas but you're actually putting them into action and producing shows that connect directly with what you're learning in the classroom.\u003c/p>\n\u003cp>\u003cstrong>Are there people who were listening to the broadcast who aren't able to do it online? \u003c/strong>\u003c/p>\n\u003cp>Yes. We're treating KUSF online as a reminder of why we want to get back on the terrestrial dial, because it absolutely isn't the same. I hear from many listeners throughout the city that it was a big part of their being in the car, driving to work, or provided a communal experience for their household. We're losing a lot of that now. We're losing people who work outdoors and listen to the radio. \u003c/p>\n\u003cp>The Internet isn't free and not everybody has access to it. A lot of the shows that were really popular on KUSF definitely had an audience that was listening on the radio. So we're having not the same kind of interaction from our listenership. \u003c/p>\n\u003cp>It speaks to the magic of radio that you can be somewhere in your day and a DJ, often a student, is orchestrating a set of music that then connects to you and speaks to you in that moment. \u003c/p>\n\u003cp>\u003cstrong>What about the effect of music services like Spotify and Pandora?\u003c/strong>\u003c/p>\n\u003cp>A human DJ with a lot of passion is able to connect dots that go through eras and go through socio-political movements. So you can connect how 50s blues speaks to 90s hip hop and how early folk music has a similar spirit to the origins of early disco in terms of disco being a folk music for the queer community. \u003c/p>\n\u003cp>I think that those are only things that a DJ behind the booth has the ability to do. It's the curatorial hand of a DJ that's so important, because it brings that very human level to it and makes connections that aren't just purely aesthetical but are also speaking to how music is an ongoing language. \u003c/p>\n\u003cp>So you can play early classical music alongside early electronic music, for instance. I think what often happens is that we all become very compartmentalized in the way we think not only about music but about everything. So things become \"24 hour classical,\" we put things in ghettoes instead of realizing they actually have a larger life than we often give them credit for. \u003c/p>\n\u003cp>\u003cstrong>Anything else?\u003c/strong>\u003c/p>\n\u003cp>We're excited that the fight to save KUSF is still very much alive and about the support we've gotten from the city and the community at large, and we're not going to stop fighting because we think that maintaining this sort of community radio in San Francisco is essential. \u003c/p>\n\u003c/blockquote>\n\u003cp>For a different perspective, way back in January KQED's Cy Musiker interviewed KDFC Music Director Rik Malone. KDFC took over KUSF's 90.3 spot on the dial, and Malone talked about the boon the sale would be for classical music listeners in San Francisco. You can \u003ca href=\"http://ww2.kqed.org/news/2011/01/19/bay-area-radio-shakeup-kdfc-kusf-kufx/\">listen to that interview here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_42809\" class=\"wp-caption alignright\" style=\"max-width: 150px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/kusflogo.jpeg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/kusflogo.jpeg\" alt=\"\" title=\"kusflogo\" width=\"150\" height=\"150\" class=\"size-full wp-image-42809\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KUSF, no longer heard on 90.3 FM\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of college radio stations around the country came together yesterday to proclaim Oct 11 College Radio Day. The celebration of stations that often have a cult following came amidst a particularly trying time for the format. From the Washington Post:\u003c/p>\n\u003cblockquote>\u003cp>Quirky, loud and unpredictable, college radio has dwelt for a half-century at the left of the dial, a youthful counterpart to public radio. The genre seeded protest in the ’70s and launched the careers of U2 and R.E.M. in the ’80s, but now finds itself under siege. Over the past decade, the economics of radio have pushed more than a dozen major stations off the airwaves.\u003c/p>\n\u003cp>One by one, universities are selling off stations to raise cash. FM licenses in major markets are worth millions. Recent sales include KUSF at the University of San Francisco, KTRU at Rice University in Houston and WXEL at Barry University in Miami.\u003c/p>\u003c/blockquote>\n\u003cp>The January sale of KUSF to the Classical Public Radio Network, just one transaction in a \u003ca href=\"http://ww2.kqed.org/news/2011/01/18/kusf-to-leave-air-move-to-online-online-broadast/\">multi-station radio shake-up\u003c/a> of the Bay Area dial, set off strenuous protests by the station's staff and fans. Many of the DJs and programmers moved to the online-only KUSF in Exile (\u003ca href=\"http://kusfinexile.tumblr.com/\">\u003cstrong>listen here\u003c/strong>\u003c/a>), an effort to keep the music playing while KUSF's sale of its license awaits FCC approval. From the \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/09/15/PK5Q1L1CAA.DTL&ao=all#ixzz1YSqfsnTW\">San Francisco Chronicle\u003c/a> last month: \u003c/p>\n\u003cblockquote>\u003cp>Eight months after the deal that moved KDFC from 102.1 to 90.3 FM, which long had been home to iconic college station KUSF, the sale is still awaiting Federal Communications Commission approval. The delay may be due, at least in part, to the protests that began soon after KUSF was unplugged.\n\u003c/p>\u003c/blockquote>\n\u003cp>KQED's Nina Thorsen spoke yesterday with KUSF Music Director Irwin Swirnoff, who online deejays the sa,e Friday morning show he did when the station was heard on the radio. Swirnoff talked about the current effort by KUSF supporters to get the FCC to hold public hearings on the sale and why he thinks it's so important to preserve college radio in a community.\u003c/p>\n\u003cp>Below is an edited transcript of the interview...\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>What's the current status of KUSF?\u003c/strong>\u003c/p>\n\u003cp>We launched KUSF in Exile while we wait for and continue to work on getting this proposed sale of KUSF stopped. It's still not been finalized by the FCC. We've been successful in delaying the finalization of the sale, and we've been happy to see that the FCC is paying close attention to it. They're investigating the sale, they sent letters of inquiry to USF and the buyer, and we're hopeful that we have a chance to get public hearings on this matter. \u003c!--more-->\u003c/p>\n\u003cp>\u003cstrong>What would be the time frame of that? \u003c/strong>\u003c/p>\n\u003cp>When you're dealing with the FCC, the time frame is always anybody's guess. We're hoping that before year's end, the FCC would either grant public hearings or make a decision one way or the other. We know that they're taking their time with all of the inquiries they asked for and are going through the responses. It could be November or December or it could go into next year. \u003c/p>\n\u003cp>\u003cstrong>And while this is happening you've got KUSF in Exile broadcasting online…\u003c/strong>\u003c/p>\n\u003cp>Yes. That came out of this really amazing moment that's come out of the tragedy that happened to KUSF and other college radio stations, where the stations are forming close bonds and unifying. WFMU on the east coast, for instance, stepped forward to host our stream, and we've experienced this camaraderie with stations around the country. This culminated with WFMU coming to town in Feburary, and we webcast live out of Amoeba (the record store in the Mission) on 15 stations around the country. That was the launch of KUSF in Exile. \u003c/p>\n\u003cp>\u003cstrong>Talk about philosophically why you think a college should have a radio station. \u003c/strong>\u003c/p>\n\u003cp>I think a college with a licensed radio station has a unique opportunity to link the university into the city in which its participating and engaging with. At KUSF that's exactly what was happening. We had programming in 12 different languages, really unique and forward thinking music programming. This allowed student and faculty to engage with what's happening on campus but make those connections throughout the city. \u003c/p>\n\u003cp>What we're ultimately fighting is not so much USF deciding it wants to sell the station, but shutting out the community that ran the station and doing it behind our backs and not allowing the community and students and faculty to come together and raise the money to buy the transmitter. \u003c/p>\n\u003cp>We think the station is an asset that provides the ability to attract new students and to use it as a living laboratory, so that you're no longer just talking about ideas but you're actually putting them into action and producing shows that connect directly with what you're learning in the classroom.\u003c/p>\n\u003cp>\u003cstrong>Are there people who were listening to the broadcast who aren't able to do it online? \u003c/strong>\u003c/p>\n\u003cp>Yes. We're treating KUSF online as a reminder of why we want to get back on the terrestrial dial, because it absolutely isn't the same. I hear from many listeners throughout the city that it was a big part of their being in the car, driving to work, or provided a communal experience for their household. We're losing a lot of that now. We're losing people who work outdoors and listen to the radio. \u003c/p>\n\u003cp>The Internet isn't free and not everybody has access to it. A lot of the shows that were really popular on KUSF definitely had an audience that was listening on the radio. So we're having not the same kind of interaction from our listenership. \u003c/p>\n\u003cp>It speaks to the magic of radio that you can be somewhere in your day and a DJ, often a student, is orchestrating a set of music that then connects to you and speaks to you in that moment. \u003c/p>\n\u003cp>\u003cstrong>What about the effect of music services like Spotify and Pandora?\u003c/strong>\u003c/p>\n\u003cp>A human DJ with a lot of passion is able to connect dots that go through eras and go through socio-political movements. So you can connect how 50s blues speaks to 90s hip hop and how early folk music has a similar spirit to the origins of early disco in terms of disco being a folk music for the queer community. \u003c/p>\n\u003cp>I think that those are only things that a DJ behind the booth has the ability to do. It's the curatorial hand of a DJ that's so important, because it brings that very human level to it and makes connections that aren't just purely aesthetical but are also speaking to how music is an ongoing language. \u003c/p>\n\u003cp>So you can play early classical music alongside early electronic music, for instance. I think what often happens is that we all become very compartmentalized in the way we think not only about music but about everything. So things become \"24 hour classical,\" we put things in ghettoes instead of realizing they actually have a larger life than we often give them credit for. \u003c/p>\n\u003cp>\u003cstrong>Anything else?\u003c/strong>\u003c/p>\n\u003cp>We're excited that the fight to save KUSF is still very much alive and about the support we've gotten from the city and the community at large, and we're not going to stop fighting because we think that maintaining this sort of community radio in San Francisco is essential. \u003c/p>\n\u003c/blockquote>\n\u003cp>For a different perspective, way back in January KQED's Cy Musiker interviewed KDFC Music Director Rik Malone. KDFC took over KUSF's 90.3 spot on the dial, and Malone talked about the boon the sale would be for classical music listeners in San Francisco. You can \u003ca href=\"http://ww2.kqed.org/news/2011/01/19/bay-area-radio-shakeup-kdfc-kusf-kufx/\">listen to that interview here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Netflix Abandons Qwikster -- Analysis From Gartner",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/netflixlogo.jpg\">\u003cimg class=\"alignright size-full wp-image-42505\" title=\"netflixlogo\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/netflixlogo.jpg\" alt=\"\" width=\"94\" height=\"94\">\u003c/a>Netflix today announced it is \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/g/a/2011/10/10/bloomberg_articlesLSV9H36JTSE9.DTL\">abandoning its short-lived plan to spin off its tried-and-true DVD-by-mail service\u003c/a> from its perceived business of the future, streaming movies and TV shows directly into customers' homes.\u003c/p>\n\u003cp>This new confusion comes on top of an ill-received price increase for its streaming service that prompted a slew of customer cancellations. Netflix last month slashed projected subscriber numbers for the third quarter by one million.\u003c/p>\n\u003cp>KQED's Peter Jon Shuler today talked to Allen Weiner, research VP for Gartner's media service, about the latest strategic contretemps by the Los Gatos-based company.\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>What do you make of all the moves Netflix has made recently?\u003c/strong>\u003c/p>\n\u003cp>Netflix is trying to accomplish a couple of things. They want to move where the biggest opportunity is for the company in their direct-to-consumer delivery space, but at the same time they don’t' want to abandon customers who have been loyal in certain channels. So this has led to some confusion in terms of pricing and services and then basically starting up a new brand when the Netflix brand has been the one that people have relied on.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignleft\">\n\u003cp>Netflix has a relatively short period of time to get its act together and to lock down consumers\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\u003c/aside>\n\u003cp>In some ways the streaming and disk by mail businesses are quite different...\u003c/p>\n\u003cp>They're differing businesses and have totally different structures, plus they have different release windows, which is the biggest issue. \u003c/p>\n\u003cp>A lot of this has probably occurred because of what Amazon is doing. Amazon will release its Fire tablet in mid-November and it's going to offer people a huge amount of streaming at a reduced cost through Amazon Prime. So Netflix has a relatively short period of time to get its act together and to lock down consumers.\u003c/p>\n\u003cp>The future of Netflix is in streaming, mostly because the infrastructure cost of mailing DVDs is much greater than it is for streaming.\u003c/p>\n\u003cp>\u003cstrong>So Netflix has backed off, and Qwikster is the new New Coke…\u003c/strong>\u003c/p>\n\u003cp>It's more the new Edsel. Because it's been put to the graveyard and not only that it's essentially like one of those TV shows that gets canceled before it even hits the air. Netflix is wise to put everything under one umbrella, one brand; it makes for easier marketing, it causes a lot less confusion. Clearly consumers are used to having the different product categories.\u003c/p>\n\u003caside class=\"pullquote alignleft\">I think [Netflix's] immediate threat right now is going to be Amazon...\n\u003c/aside>\n\u003cp>The issue that Netflix needs to face is how they can start moving some of those physical DVD titles into the streaming service. That's the biggest challenge. New titles that come out on, say, a Tuesday are not available for streaming right away. The cost for licensing -- that would be enormous. How they offer the quality of the physical DVD service in the streaming service is going to be one of the challenges the company needs to answer.\u003c/p>\n\u003cp>Right now the content in the streaming service, any way you cut it, is long on convenience but relatively thin on quality. It looks like a decent cable system: lots of content there but stuff that's relatively old or out of the mainstream. That's a matter of dealing with the studios and getting them to change their licensing agreements.\u003c/p>\n\u003cp>The consumer is going to be met with multiple choices, everything from Hulu Plus to video-on- demand to Amazon's new service to whatever Apple has and Google. It's going to be important for Netflix to continually upgrade the quality of its streaming service. I think their immediate threat right now is going to be Amazon, which not only has delivery to the TV set through a number of boxes, but is soon going to have millions of Fire tablets in people's hands.\u003c/p>\n\u003cp>\u003cstrong>So did Netflix bungle here?\u003c/strong>\u003c/p>\n\u003cp>There's two ways you can look at it. Certainly they made a bungle. But you have to admire the transparency that Reed Hastings and Netflix has had. This isn't something they've done in secret and then sprung on customers. They've been really open and honest about it and I think that a majority of consumers are relatively forgiving when it comes to this, particularly if Netflix actually reacted to customer complaints. It's refreshing to have such transparency from the company in admitting they probably were taking the wrong path.\u003c/p>\n\u003cp>I think this will earn some short-term loyalty. But customers are fickle. They're going to go where they get the best price and the best content. It stops the erosion of customers just cancelling out of displeasure over the company; it puts a finger in the dike. But Netflix is not immune if somebody comes along and offers fresher content at a better price.\u003c/p>\n\u003cp>\u003cstrong>But streaming is the future? \u003c/strong>\u003c/p>\n\u003cp>Absolutely, because of the ubiquity of access that you have. You need to have a streaming service to be able to satisfy consumers across a variety of devices in a variety of scenarios. It's clearly the only way to go in that world.\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/netflixlogo.jpg\">\u003cimg class=\"alignright size-full wp-image-42505\" title=\"netflixlogo\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/netflixlogo.jpg\" alt=\"\" width=\"94\" height=\"94\">\u003c/a>Netflix today announced it is \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/g/a/2011/10/10/bloomberg_articlesLSV9H36JTSE9.DTL\">abandoning its short-lived plan to spin off its tried-and-true DVD-by-mail service\u003c/a> from its perceived business of the future, streaming movies and TV shows directly into customers' homes.\u003c/p>\n\u003cp>This new confusion comes on top of an ill-received price increase for its streaming service that prompted a slew of customer cancellations. Netflix last month slashed projected subscriber numbers for the third quarter by one million.\u003c/p>\n\u003cp>KQED's Peter Jon Shuler today talked to Allen Weiner, research VP for Gartner's media service, about the latest strategic contretemps by the Los Gatos-based company.\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>What do you make of all the moves Netflix has made recently?\u003c/strong>\u003c/p>\n\u003cp>Netflix is trying to accomplish a couple of things. They want to move where the biggest opportunity is for the company in their direct-to-consumer delivery space, but at the same time they don’t' want to abandon customers who have been loyal in certain channels. So this has led to some confusion in terms of pricing and services and then basically starting up a new brand when the Netflix brand has been the one that people have relied on.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignleft\">\n\u003cp>Netflix has a relatively short period of time to get its act together and to lock down consumers\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\u003c/aside>\n\u003cp>In some ways the streaming and disk by mail businesses are quite different...\u003c/p>\n\u003cp>They're differing businesses and have totally different structures, plus they have different release windows, which is the biggest issue. \u003c/p>\n\u003cp>A lot of this has probably occurred because of what Amazon is doing. Amazon will release its Fire tablet in mid-November and it's going to offer people a huge amount of streaming at a reduced cost through Amazon Prime. So Netflix has a relatively short period of time to get its act together and to lock down consumers.\u003c/p>\n\u003cp>The future of Netflix is in streaming, mostly because the infrastructure cost of mailing DVDs is much greater than it is for streaming.\u003c/p>\n\u003cp>\u003cstrong>So Netflix has backed off, and Qwikster is the new New Coke…\u003c/strong>\u003c/p>\n\u003cp>It's more the new Edsel. Because it's been put to the graveyard and not only that it's essentially like one of those TV shows that gets canceled before it even hits the air. Netflix is wise to put everything under one umbrella, one brand; it makes for easier marketing, it causes a lot less confusion. Clearly consumers are used to having the different product categories.\u003c/p>\n\u003caside class=\"pullquote alignleft\">I think [Netflix's] immediate threat right now is going to be Amazon...\n\u003c/aside>\n\u003cp>The issue that Netflix needs to face is how they can start moving some of those physical DVD titles into the streaming service. That's the biggest challenge. New titles that come out on, say, a Tuesday are not available for streaming right away. The cost for licensing -- that would be enormous. How they offer the quality of the physical DVD service in the streaming service is going to be one of the challenges the company needs to answer.\u003c/p>\n\u003cp>Right now the content in the streaming service, any way you cut it, is long on convenience but relatively thin on quality. It looks like a decent cable system: lots of content there but stuff that's relatively old or out of the mainstream. That's a matter of dealing with the studios and getting them to change their licensing agreements.\u003c/p>\n\u003cp>The consumer is going to be met with multiple choices, everything from Hulu Plus to video-on- demand to Amazon's new service to whatever Apple has and Google. It's going to be important for Netflix to continually upgrade the quality of its streaming service. I think their immediate threat right now is going to be Amazon, which not only has delivery to the TV set through a number of boxes, but is soon going to have millions of Fire tablets in people's hands.\u003c/p>\n\u003cp>\u003cstrong>So did Netflix bungle here?\u003c/strong>\u003c/p>\n\u003cp>There's two ways you can look at it. Certainly they made a bungle. But you have to admire the transparency that Reed Hastings and Netflix has had. This isn't something they've done in secret and then sprung on customers. They've been really open and honest about it and I think that a majority of consumers are relatively forgiving when it comes to this, particularly if Netflix actually reacted to customer complaints. It's refreshing to have such transparency from the company in admitting they probably were taking the wrong path.\u003c/p>\n\u003cp>I think this will earn some short-term loyalty. But customers are fickle. They're going to go where they get the best price and the best content. It stops the erosion of customers just cancelling out of displeasure over the company; it puts a finger in the dike. But Netflix is not immune if somebody comes along and offers fresher content at a better price.\u003c/p>\n\u003cp>\u003cstrong>But streaming is the future? \u003c/strong>\u003c/p>\n\u003cp>Absolutely, because of the ubiquity of access that you have. You need to have a streaming service to be able to satisfy consumers across a variety of devices in a variety of scenarios. It's clearly the only way to go in that world.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Photos: Saturday's Ocean Beach Sandcastle Contest",
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"content": "\u003cfigure id=\"attachment_42498\" class=\"wp-caption alignright\" style=\"max-width: 293px\">\u003ca href=\"http://www.flickr.com/photos/sjsharktank/6231292445/sizes/m/in/photostream/\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/sandcastle.jpg\" alt=\"\" title=\"sandcastle\" width=\"293\" height=\"220\" class=\"size-full wp-image-42498\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: sjsharktank, Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday, the 28th annual sandcastle contest at Ocean Beach took place. The competition among local schools is held each year by \u003ca href=\"http://leap4kids.org/collection/\">Leap\u003c/a>, an organization that brings arts programs into Bay Area schools.\u003c/p>\n\u003cp>This year's winner, according to the Richmond District Blog of San Francisco : \u003ca href=\"http://richmondsfblog.com/wp-content/uploads/2011/10/sc5.jpg\">The Awesome Fireblasting Dragon\u003c/a>, created by the Creative Arts Charter School.\u003c/p>\n\u003cp>Below are photos from this year's contest:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://richmondsfblog.com/2011/10/10/creative-arts-charter-school-takes-top-prize-in-the-leap-sandcastle-contest/\">Richmond District Blog of San Francisco\u003c/a>\n\u003c/li>\u003cli>\u003ca href=\"http://oceanbeachbulletin.com/2011/10/09/having-a-blast-on-ocean-beach-at-leaps-sand-castle-contest/\">Ocean Beach Bulletin\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.sfgate.com/cgi-bin/object/article?f=/c/a/2011/10/09/BAL71LF8V6.DTL&object=\">SF Chronicle\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.flickr.com/search/?q=san+francisco+sand+castle&s=rec\">Flickr\u003c/a>\n\u003c/li>\u003cli>\u003ca href=\"http://leap4kids.org/collection/index.php?option=com_content&task=view&id=212&Itemid=314\">Photos from last year\u003c/a>\n\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "Art Howe Rips 'Moneyball' and Billy Beane",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/09/moneyballSM2.jpg\">\u003cimg class=\"alignright size-medium wp-image-41265\" title=\"moneyballSM\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/09/moneyballSM2-300x179.jpg\" alt=\"\" width=\"300\" height=\"179\">\u003c/a>Former A's manager Art Howe has been on the offensive over his portrayal in the film \u003cem>Moneyball\u003c/em>, based on the book of the same name.\u003c/p>\n\u003cp>If you've seen the film, you know that Howe, portrayed by Philip Seymour Hoffman, is depicted as intransigent about accepting the cutting-edge statistical theories of GM Billy Beane and his assistant. The name of that character was changed at the request of Beane's real-life second, Paul DePodesta, during the 2002 season the film covers. But not so for Howe. The film also depicts the former manager as preoccupied with his contract, and suggests that Beane frequently went behind Howe's back in coaching players during that 103-win year.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/news/2011/09/27/moneyball-producer-rachael-horovitz-answers-6-questions/\">Moneyball producer Rachael Horovitz answers 7 questions\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/news/2011/09/20/at-the-moneyball-premiere/\">Report from the Moneyball Oakland premiere\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/news/2012/01/24/an-as-fan-recalls-being-an-extra-on-set-of-moneyball/\">An A's fan recalls being an extra on the set\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Howe went on KNBR yesterday to discuss the matter with Gary Radnich and Larry Krueger. In the interview, Howe complains about several scenes in the movie that never happened in real-life. When Radnich makes the point that Moneyball is, after all, a movie, Howe says:\u003c/p>\n\u003cp>\"I understand that, but they didn't have to malign my character the way they did. The thing that really concerns me, Gary, is all the millions of people that will be watching that movie who really don't know Art Howe, and this is the impression they're going to have of me.\"\u003c/p>\n\u003cp>\"Where do you think that came from?\" Radnich asks, \"if you don't know Michael Lewis, the author. It had to come from Billy, did it not?\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"That's the way it kind of looks. I don't know for sure, but I wouldn't be surprised.\"\u003c/p>\n\u003cp>Later on, Howe says he would expect an apology from Beane if he ever ran into him, and that \"he knows who I am and what I did for the organization for seven years...He knows there was a lot of injustice done here, and I would hope he'd be man enough to step up and call me and say, 'Hey Art, I'm really sorry about this.'\" Howe said he didn't expect that to happen, however. He also said Beane once apologized to him in private for the way Beane treated him.\u003c/p>\n\u003cp>\u003ca href=\"http://www.knbr.com/portals/3/podcasts/garyradnich/092711arthurhowe.mp3\">\u003cstrong>Listen here\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.mercurynews.com/athletics/ci_18992953\">Beane fired back\u003c/a>, briefly, yesterday, telling the Bay Area News Group, \"I was wondering who was going to be the first guy to think I produced, wrote or directed this movie. Now I have my answer. (Howe's) comments are completely misguided.\"\u003c/p>\n\u003cp>More criticism from Howe...\u003c/p>\n\u003cp>From \u003ca href=\"http://sports.yahoo.com/mlb/blog/big_league_stew/post/Art-Howe-isn-t-happy-about-his-portrayal-in-Mon?urn=mlb-wp20913\">Big League Stew's blog\u003c/a> on Yahoo! Sports last Sunday:\u003c/p>\n\u003cblockquote>\u003cp>Here's Howe on SiriusXM's Mad Dog Radio:\u003c/p>\n\u003cp>\"Considering the book wasn't real favorable to me to start with I figured it would be something like this but to be honest with you it is very disappointing to know that you spent seven years in an organization and gave your heart and soul to it and helped them go to the postseason your last three years there and win over 100 games your last two seasons and this is the way evidently your boss [Beane] feels about you.\u003c/p>\n\u003cp>\"They never called me to get my slant on things as far as the movie was concerned. So, I mean, it's coming from someone. I don't know who it is but maybe it is Hollywood to make it sell, I guess. I don't know. It's disappointing. I spent my whole career trying to build a good reputation and I think I did that but this movie certainly doesn't help it. And it is definitely unfair and untrue. If you ask any player that ever played for me they would say that they never saw this side of me, ever. \"\u003c/p>\n\u003cp>And what about his portrayal in the book?\u003c/p>\n\u003cp>\"[Lewis] came in my office for about 10 minutes one day and that's all the time he spent with me. And put yourself in my position. He's asking me about my boss. Now, what can you say? [laughs] He ran some things by me and I verified some things and gave my slant to different things but they never got into the book, my slants.\"\u003c/p>\u003c/blockquote>\n\u003cp>Here's a \u003ca href=\"http://blog.chron.com/ultimateastros/2011/09/28/art-howe-livid-over-his-portrayal-in-moneyball/\">long interview Howe did\u003c/a> with a Houston Chronicle blog in which he takes issue with a number of things in the film:\u003c/p>\n\u003cblockquote>\u003cp>Was the contract an issue? I know that was a big thing in the movie and almost how they introduced you in the movie.\u003c/p>\n\u003cp>A: That was fictitious. They didn’t do their homework as far as the movie was concerned because I was on a two-year contract through 2003. I had another year after that. My agent always took care of my contract; I never negotiated with Billy, especially not in the hallway of the clubhouse. Never happened.\u003c/p>\n\u003cp>Do you feel that this (movie and book) affects your name in baseball circles?\u003c/p>\n\u003cp>A: It certainly doesn’t help it the way I was portrayed. I think the book hurt me and now the movie. I want people who don’t know Art Howe – that’s the problem with the movie – I’ve spent my whole career trying to build a good reputation and be a good baseball man and someone who people like to play for and all of the above. Then in two hours, people who don’t know me – and Brad Pitt’s a big name, people are going to see his movies – and all these people across the country are going to go in and get this perception of me that’s totally unfair and untruthful. So I’m very upset.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And quotes from an interview with the Chronicle yesterday:\u003c/p>\n\u003cul>\n\u003cli>\"They couldn't have demeaned me more. It's disgusting. I'm hurt by it. My reputation is altered by it. People who don't know me are going to think that's the real Art Howe.\"\u003c/li>\n\u003cli>\"I wish they'd communicated with me,\" Howe said of the filmmakers.\u003c/li>\n\u003cli>\"I don't know how you can get away with saying it's a true movie. I like how in the movie, it's Billy Beane who's the one who tells Mike Magnante he's being released, and he tells Magnante, 'Thank you so much for everything, Mike.' Give me a break. I'm the one who had to tell Magnante, and he was less than a week away from getting his full pension. I like Mike, I tried hard to get him those days, I told them to put him on the DL to get him the time; it wouldn't have cost them anything.\"\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"That's the way it kind of looks. I don't know for sure, but I wouldn't be surprised.\"\u003c/p>\n\u003cp>Later on, Howe says he would expect an apology from Beane if he ever ran into him, and that \"he knows who I am and what I did for the organization for seven years...He knows there was a lot of injustice done here, and I would hope he'd be man enough to step up and call me and say, 'Hey Art, I'm really sorry about this.'\" Howe said he didn't expect that to happen, however. He also said Beane once apologized to him in private for the way Beane treated him.\u003c/p>\n\u003cp>\u003ca href=\"http://www.knbr.com/portals/3/podcasts/garyradnich/092711arthurhowe.mp3\">\u003cstrong>Listen here\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.mercurynews.com/athletics/ci_18992953\">Beane fired back\u003c/a>, briefly, yesterday, telling the Bay Area News Group, \"I was wondering who was going to be the first guy to think I produced, wrote or directed this movie. Now I have my answer. (Howe's) comments are completely misguided.\"\u003c/p>\n\u003cp>More criticism from Howe...\u003c/p>\n\u003cp>From \u003ca href=\"http://sports.yahoo.com/mlb/blog/big_league_stew/post/Art-Howe-isn-t-happy-about-his-portrayal-in-Mon?urn=mlb-wp20913\">Big League Stew's blog\u003c/a> on Yahoo! Sports last Sunday:\u003c/p>\n\u003cblockquote>\u003cp>Here's Howe on SiriusXM's Mad Dog Radio:\u003c/p>\n\u003cp>\"Considering the book wasn't real favorable to me to start with I figured it would be something like this but to be honest with you it is very disappointing to know that you spent seven years in an organization and gave your heart and soul to it and helped them go to the postseason your last three years there and win over 100 games your last two seasons and this is the way evidently your boss [Beane] feels about you.\u003c/p>\n\u003cp>\"They never called me to get my slant on things as far as the movie was concerned. So, I mean, it's coming from someone. I don't know who it is but maybe it is Hollywood to make it sell, I guess. I don't know. It's disappointing. I spent my whole career trying to build a good reputation and I think I did that but this movie certainly doesn't help it. And it is definitely unfair and untrue. If you ask any player that ever played for me they would say that they never saw this side of me, ever. \"\u003c/p>\n\u003cp>And what about his portrayal in the book?\u003c/p>\n\u003cp>\"[Lewis] came in my office for about 10 minutes one day and that's all the time he spent with me. And put yourself in my position. He's asking me about my boss. Now, what can you say? [laughs] He ran some things by me and I verified some things and gave my slant to different things but they never got into the book, my slants.\"\u003c/p>\u003c/blockquote>\n\u003cp>Here's a \u003ca href=\"http://blog.chron.com/ultimateastros/2011/09/28/art-howe-livid-over-his-portrayal-in-moneyball/\">long interview Howe did\u003c/a> with a Houston Chronicle blog in which he takes issue with a number of things in the film:\u003c/p>\n\u003cblockquote>\u003cp>Was the contract an issue? I know that was a big thing in the movie and almost how they introduced you in the movie.\u003c/p>\n\u003cp>A: That was fictitious. They didn’t do their homework as far as the movie was concerned because I was on a two-year contract through 2003. I had another year after that. My agent always took care of my contract; I never negotiated with Billy, especially not in the hallway of the clubhouse. Never happened.\u003c/p>\n\u003cp>Do you feel that this (movie and book) affects your name in baseball circles?\u003c/p>\n\u003cp>A: It certainly doesn’t help it the way I was portrayed. I think the book hurt me and now the movie. I want people who don’t know Art Howe – that’s the problem with the movie – I’ve spent my whole career trying to build a good reputation and be a good baseball man and someone who people like to play for and all of the above. Then in two hours, people who don’t know me – and Brad Pitt’s a big name, people are going to see his movies – and all these people across the country are going to go in and get this perception of me that’s totally unfair and untruthful. So I’m very upset.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And quotes from an interview with the Chronicle yesterday:\u003c/p>\n\u003cul>\n\u003cli>\"They couldn't have demeaned me more. It's disgusting. I'm hurt by it. My reputation is altered by it. People who don't know me are going to think that's the real Art Howe.\"\u003c/li>\n\u003cli>\"I wish they'd communicated with me,\" Howe said of the filmmakers.\u003c/li>\n\u003cli>\"I don't know how you can get away with saying it's a true movie. I like how in the movie, it's Billy Beane who's the one who tells Mike Magnante he's being released, and he tells Magnante, 'Thank you so much for everything, Mike.' Give me a break. I'm the one who had to tell Magnante, and he was less than a week away from getting his full pension. I like Mike, I tried hard to get him those days, I told them to put him on the DL to get him the time; it wouldn't have cost them anything.\"\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Moneyball Producer Rachael Horovitz Answers 7 Questions",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/09/moneyballSM1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/09/moneyballSM1-300x179.jpg\" alt=\"\" title=\"moneyballSM\" width=\"300\" height=\"179\" class=\"alignleft size-medium wp-image-41070\">\u003c/a>Last weekend, \u003cem>Moneyball\u003c/em>, adapted from Michael Lewis' book about Oakland A's GM Billy Beane's early adoption of statistical analysis, was \u003ca href=\"http://movies.yahoo.com/mv/boxoffice/\">No. 2 at the box office\u003c/a>, surpassed only by the re-release of \u003cem>The Lion King\u003c/em>. The film also has a \u003ca href=\"http://www.rottentomatoes.com/m/moneyball/\">94% rating on Rotten Tomatoes\u003c/a>, the \u003ca href=\"http://www.rottentomatoes.com/m/moneyball/\">fifth-best rated movie\u003c/a> on the entire site.\u003c/p>\n\u003cp>Last week I interviewed \u003ca href=\"http://www.imdb.com/name/nm0395267/\">Rachael Horovitz\u003c/a>, the \u003cem>Moneyball\u003c/em> producer who was on the project from the start. Below is an edited transcript. (Disclaimer: We knew each other in grade school. But that was before her movie career was in full swing.) \u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>Talk about your role on the movie...\u003c/strong>\u003c/p>\n\u003cp>The project originated with me. I had been a studio executive for a long time and I quit to make my own movies. When you're an executive, you have one boss, one buyer, and if that guy doesn't want to do your idea, you can't go anywhere else. So there were movies that I didn't get to make that I really wanted to.\u003c/p>\n\u003cp>So I quit and had a two-week vacation, and this book was one of the books I read during that time. It totally jump-started my producing career. I thought this is exactly the kind of movie I want to make, and I'll just keep pounding the pavement until I can get someone to back me. \u003c/p>\n\u003cp>Sony loved the pitch. They were fans of the book but they hadn't considered it as a movie until we started talking. Warner Bros also responded but I ended up with Sony. The thing about the project that's been so extraordinary -- everyone who's gotten involved has fallen in love with it, and we're all very different people.\u003c/p>\n\u003cp>I'm going to be thinking about it for a long time, what is it that all of these very different people love about the story. Everyone I know who has read the book has fallen in love with it. And everyone who read it to get involved with the film felt very personally connected to it. \u003c!--more-->\u003c/p>\n\u003cp>\u003cstrong>At first blush, when you read the book, you might not necessarily detect a narrative you can extrapolate that would play on-screen. Tell me what you saw in the book that could translate into a compelling movie...\u003c/strong>\u003c/p>\n\u003cp>I saw first of all a real movie character in Billy Beane, and that to me is almost always where it starts when I'm looking at a movie -- do you want to spend two hours with this person? I felt that his predicament was extremely human and relatable. None of us on the filmmaking side has worked in baseball, but we all completely related to the predicament. Scenes like Billy trying to decide whether to go to Stanford or to the Mets, I saw those in movie images. \u003c/p>\n\u003cp>\u003cstrong>It's been reported that the \u003ca href=\"http://blogs.indiewire.com/womenandhollywood/archives/2011/09/23/moneyball_producer_rachael_horovitz_a_lesson_in_perseverance/#\">film took a long time to bring to the screen\u003c/a>. Why is that?\u003c/strong>\u003c/p>\n\u003cp>Good screenwriting looks easy, but it is damn hard. I've worked on two kinds of movies over the years –- movies that are total auteur, like from [directors] Alexander Payne or Wes Anderson, and ones that are quote, \"within the system.\" A Wes Anderson story, for instance, always starts in Wes' brain. The types of films that are made from within the system, there are committees, and they usually doesn't have a filmmaker from Day 1. \u003c/p>\n\u003cp>I would often watch my father [playwright Israel Horovitz] get hired onto movies, and they were harder to write than movies or plays that started in his head, because there were other people who had a vote. \u003c/p>\n\u003cp>But the reason that this particular book was difficult to adapt is because you want to somehow recreate the experience of reading the book, which goes in and out of time, explanation of \u003ca href=\"http://en.wikipedia.org/wiki/Sabermetrics\">sabermetrics\u003c/a>, and a lot of the historical context. It was a harder script to get down than most. \u003c/p>\n\u003cp>\u003cstrong>Did you get to work with Billy Beane?\u003c/strong>\u003c/p>\n\u003cp>We worked with him throughout the process. The whole A's organization was supportive of getting the details right. As far as the facts of Billy's life, he was always available for us to ask questions. \u003c/p>\n\u003cp>\u003cstrong>Why was \u003ca href=\"http://articles.latimes.com/2011/sep/20/sports/la-sp-plaschke-20110921\">Paul DePodesta's name and character changed\u003c/a>? \u003c/strong>\u003c/p>\n\u003cp>He opted to do that so we respectfully changed his name. I can't tell you exactly why; there's a \u003ca href=\"http://sports.yahoo.com/mlb/news?slug=ti-depodestamoneyball080510\">nice interview with him online\u003c/a> where he talks about it. I never met him so I don't know first-hand. I think everybody should have the right to do that. \u003c/p>\n\u003cp>\u003cstrong>How did having an esteemed playwright for a father influence you? \u003c/strong>\u003c/p>\n\u003cp>Too much. It 's something I'm very aware of now, thinking how did I end up in the movie business. Being a parent, I just see the ways you influence your kids without being aware. Growing up in my house, it was all about movies and plays and that was the emphasis. \u003c/p>\n\u003cp>\u003cstrong>So do you have regrets that you wound up in the movie business?\u003c/strong>\u003c/p>\n\u003cp>If I could start over I'd go to medical school. But that's just being in your 40s. ..\n\u003c/p>\u003c/blockquote>\n\u003cp>You can watch \u003ca href=\"http://movies.yahoo.com/movie/1810166670/info\">clips from Moneyball\u003c/a> at Yahoo! Movies.\u003c/p>\n\u003cp>Related:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/news/2011/09/20/at-the-moneyball-premiere/\">At the Moneyball Premiere...\u003c/a> (News Fix)\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/09/moneyballSM1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/09/moneyballSM1-300x179.jpg\" alt=\"\" title=\"moneyballSM\" width=\"300\" height=\"179\" class=\"alignleft size-medium wp-image-41070\">\u003c/a>Last weekend, \u003cem>Moneyball\u003c/em>, adapted from Michael Lewis' book about Oakland A's GM Billy Beane's early adoption of statistical analysis, was \u003ca href=\"http://movies.yahoo.com/mv/boxoffice/\">No. 2 at the box office\u003c/a>, surpassed only by the re-release of \u003cem>The Lion King\u003c/em>. The film also has a \u003ca href=\"http://www.rottentomatoes.com/m/moneyball/\">94% rating on Rotten Tomatoes\u003c/a>, the \u003ca href=\"http://www.rottentomatoes.com/m/moneyball/\">fifth-best rated movie\u003c/a> on the entire site.\u003c/p>\n\u003cp>Last week I interviewed \u003ca href=\"http://www.imdb.com/name/nm0395267/\">Rachael Horovitz\u003c/a>, the \u003cem>Moneyball\u003c/em> producer who was on the project from the start. Below is an edited transcript. (Disclaimer: We knew each other in grade school. But that was before her movie career was in full swing.) \u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>Talk about your role on the movie...\u003c/strong>\u003c/p>\n\u003cp>The project originated with me. I had been a studio executive for a long time and I quit to make my own movies. When you're an executive, you have one boss, one buyer, and if that guy doesn't want to do your idea, you can't go anywhere else. So there were movies that I didn't get to make that I really wanted to.\u003c/p>\n\u003cp>So I quit and had a two-week vacation, and this book was one of the books I read during that time. It totally jump-started my producing career. I thought this is exactly the kind of movie I want to make, and I'll just keep pounding the pavement until I can get someone to back me. \u003c/p>\n\u003cp>Sony loved the pitch. They were fans of the book but they hadn't considered it as a movie until we started talking. Warner Bros also responded but I ended up with Sony. The thing about the project that's been so extraordinary -- everyone who's gotten involved has fallen in love with it, and we're all very different people.\u003c/p>\n\u003cp>I'm going to be thinking about it for a long time, what is it that all of these very different people love about the story. Everyone I know who has read the book has fallen in love with it. And everyone who read it to get involved with the film felt very personally connected to it. \u003c!--more-->\u003c/p>\n\u003cp>\u003cstrong>At first blush, when you read the book, you might not necessarily detect a narrative you can extrapolate that would play on-screen. Tell me what you saw in the book that could translate into a compelling movie...\u003c/strong>\u003c/p>\n\u003cp>I saw first of all a real movie character in Billy Beane, and that to me is almost always where it starts when I'm looking at a movie -- do you want to spend two hours with this person? I felt that his predicament was extremely human and relatable. None of us on the filmmaking side has worked in baseball, but we all completely related to the predicament. Scenes like Billy trying to decide whether to go to Stanford or to the Mets, I saw those in movie images. \u003c/p>\n\u003cp>\u003cstrong>It's been reported that the \u003ca href=\"http://blogs.indiewire.com/womenandhollywood/archives/2011/09/23/moneyball_producer_rachael_horovitz_a_lesson_in_perseverance/#\">film took a long time to bring to the screen\u003c/a>. Why is that?\u003c/strong>\u003c/p>\n\u003cp>Good screenwriting looks easy, but it is damn hard. I've worked on two kinds of movies over the years –- movies that are total auteur, like from [directors] Alexander Payne or Wes Anderson, and ones that are quote, \"within the system.\" A Wes Anderson story, for instance, always starts in Wes' brain. 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As far as the facts of Billy's life, he was always available for us to ask questions. \u003c/p>\n\u003cp>\u003cstrong>Why was \u003ca href=\"http://articles.latimes.com/2011/sep/20/sports/la-sp-plaschke-20110921\">Paul DePodesta's name and character changed\u003c/a>? \u003c/strong>\u003c/p>\n\u003cp>He opted to do that so we respectfully changed his name. I can't tell you exactly why; there's a \u003ca href=\"http://sports.yahoo.com/mlb/news?slug=ti-depodestamoneyball080510\">nice interview with him online\u003c/a> where he talks about it. I never met him so I don't know first-hand. I think everybody should have the right to do that. \u003c/p>\n\u003cp>\u003cstrong>How did having an esteemed playwright for a father influence you? \u003c/strong>\u003c/p>\n\u003cp>Too much. It 's something I'm very aware of now, thinking how did I end up in the movie business. Being a parent, I just see the ways you influence your kids without being aware. 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"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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