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"content": "\u003cp>The year was 1989. Movies like “Batman,” “When Harry Met Sally” and “Back to the Future Part II” were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>[pullquote size=“medium” align=”right” citation=\"Martin Felix\"]‘We were one of the first to actually pioneer [movie delivery].’[/pullquote]\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of ’80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EkNxT89CgFE\u003c/p>\n\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the ’90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the ’80’s and ’90’s, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,” says Martin. “I was surrounded by 15 video stores, but we’re still here.”\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, ‘I’m not going to deal with it,’ ” he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That’s the only thing that hasn’t changed in this industry,” says Martin.\u003c/p>\n\u003cp>He’s even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn’t closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of “The Equalizer 2” and “Crazy Rich Asians.”\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That’s what I am to most of them,” says Martin. “Some of them rent movies, some of them don’t, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "How an Old-School L.A. Video Store Thrives in a Netflix World | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1989. Movies like “Batman,” “When Harry Met Sally” and “Back to the Future Part II” were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of ’80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EkNxT89CgFE'\n title='//www.youtube.com/embed/EkNxT89CgFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the ’90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the ’80’s and ’90’s, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,” says Martin. “I was surrounded by 15 video stores, but we’re still here.”\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, ‘I’m not going to deal with it,’ ” he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That’s the only thing that hasn’t changed in this industry,” says Martin.\u003c/p>\n\u003cp>He’s even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn’t closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of “The Equalizer 2” and “Crazy Rich Asians.”\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That’s what I am to most of them,” says Martin. “Some of them rent movies, some of them don’t, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>David Singer clicks through iTunes looking for “Ferris Bueller’s Day Off,” a film he watched at least 12 times when it first came out in 1986. He was in his early 20s then.\u003c/p>\n\u003cp>“You’re old,” his younger daughter mutters, as she nudges her dad to choose the HD version.\u003c/p>\n\u003cp>Singer has high hopes as he settles in to watch the film with his wife and their two daughters, Emma, 13, and Elliot, 16, at their home in San Francisco.\u003c/p>\n\u003cp>“I want them to fall in love with it, just the way I did,” he says, as the opening scenes begin to roll. “Getting them to watch a movie from my younger days is always a challenge. They look slower and not as much in focus.”\u003c/p>\n\u003cp>Singer is like so many other people who came of age in the 1980s and idolized Ferris Bueller. For them, it will always be a fun movie about a kid faking being sick and skipping school.\u003c/p>\n\u003cp>“He was just having a load of fun,” Singer says, remembering Ferris at the Cubs game and singing on the float in downtown Chicago. “Everyone has a friend like his buddy, who’s kind of a sad sack.”\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='Danny Wedding, author of Movies and Mental Illness']‘In the 1980s, there might have been a tendency to see these as just rebellious teenagers misbehaving and causing trouble. Now, we’re more likely to be sensitive to the mental illness themes and to see Cameron as somebody coping with depression.’[/pullquote]But more than 30 years later, Cameron Frye, and his friendship with Ferris, look different through the eyes of today’s teens. They notice different themes and different dynamics. Watching the film from today’s perspective and applying today’s vocabulary, it’s clear that Cameron wasn’t just a sad sack — he was depressed and anxious.\u003c/p>\n\u003cp>“I’m dying,” he groans in his first scene, cocooned in bed, staring at the ceiling. To which Ferris responds, “You’re not dying. You just can’t think of anything good to do.”\u003c/p>\n\u003cp>Throughout the film, Cameron’s fear is the foil to Ferris’ free spirit.\u003c/p>\n\u003cp>When they borrow Cameron’s dad’s precious Ferrari and things go wrong, Cameron “goes berserk,” in Ferris’ words, then spends the next several scenes in a catatonic state.\u003c/p>\n\u003cp>“Maybe he’s really sick,” Ferris says, nibbling an Oreo in a hot tub while Cameron stares straight ahead over the swimming pool. “Maybe he isn’t just torturing himself.”\u003c/p>\n\u003cp>Then Cameron tumbles into the pool, fully clothed, and sinks to the bottom. Ferris dives in to save him. It’s an ambiguous move — in the end, a prank, but with hints of suicide.\u003c/p>\n\u003cp>“Ferris Bueller, you’re my hero,” Cameron says sarcastically.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D6gABQFR94U\u003c/p>\n\u003cp>\u003cstrong>From Hero to Jerk\u003c/strong>\u003c/p>\n\u003cp>When David Singer watched this film in the ’80s, he did think of Ferris as a hero. But that wasn’t his daughter Elliot’s first reaction.\u003c/p>\n\u003cp>“I kinda hated him,” she says to her dad. “Ferris kinda sucks.”\u003c/p>\n\u003cp>He orders Cameron to get out of bed and pick him up, forces him to take his dad’s car, then dismisses Cameron’s concerns and blows him off as a worrier.\u003c/p>\n\u003cp>“He’s a very fun character,” Elliot says of Ferris. “But he’s also kind of an asshole.”\u003c/p>\n\u003cp>Plus, this whole taking-a-day-off-from-school business, pretending to be sick — that’s not how it goes down in her world. Elliot is a junior at Lick-Wilmerding, a private high school in San Francisco with a reputation for being high pressure.\u003c/p>\n\u003cp>“People come to school sick because, honestly, at the type of school I’m at, it’s more stressful not to be at school,” she says. “Going and having a fun day is really fun. But it’s also not fun – the amount of stuff you miss in a day.”\u003c/p>\n\u003cp>Elliot has had her own struggles with anxiety. It makes sense that she would pick up on different themes in the film than her dad and his generation.\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='David Singer, who recently watched the film with his two teenage daughters']‘Anxiety for teenagers, anxiety about the future, where do you go to college. It’s age-old.’[/pullquote]Since “Ferris Bueller” was made, teenage suicide rates have spiked, especially among young girls, according to \u003ca href=\"https://www.cdc.gov/nchs/data/databriefs/db241.pdf\" target=\"_blank\" rel=\"noopener\">CDC data\u003c/a>. And 70% of today’s teens view anxiety and depression as a major problem, according to a recent \u003ca href=\"https://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">study from the Pew Research Center\u003c/a>.\u003c/p>\n\u003cp>“The viewing public is much more attuned to mental illness and the problems confronting people who are coping with mental illness,” says Danny Wedding, a psychologist from Berkeley, who wrote the \u003ca href=\"https://books.google.com/books/about/Movies_and_Mental_Illness.html?id=20RfAgAAQBAJ\" target=\"_blank\" rel=\"noopener\">textbook “Movies and Mental Illness.”\u003c/a> He is working on the fifth edition now.\u003c/p>\n\u003cp>“In the 1980s, there might have been a tendency to see these as just rebellious teenagers misbehaving and causing trouble,” he says. “Now, we’re more likely to be sensitive to the mental illness themes and to see Cameron as somebody coping with depression.”\u003c/p>\n\u003cp>And the Ferrari? Wedding sees it as a metaphor for all the times his father failed to respond to Cameron’s needs.\u003c/p>\n\u003cp>Film representations began to change in the late 1980s and ’90s with films like “Rain Man,” which started explicitly addressing mental health, Wedding says. As public awareness grew, films got better. As films got better, public awareness grew more.\u003c/p>\n\u003cp>“One of the things that happened is that directors increasingly turned to mental health consultants to advise on films, and that happened in the ’90s,” he says.\u003c/p>\n\u003cp>\u003cstrong>Movie Myths Then and Now\u003c/strong>\u003c/p>\n\u003cp>But before that, movies were rife with subtle, subliminal messages about mental illness, often through sidekick characters like Cameron. All sorts of negative stereotypes were promulgated, Wedding says. He boils them down to three common myths.\u003c/p>\n\u003cp>Myth No. 1: People become mentally ill because their parents treated them badly.\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='Elliot Singer, 16']‘He’s a very fun character. But he’s also kind of an asshole.’[/pullquote]“Sybil” and “Carrie” are examples of this, as are all the horror films of the ’80s, like “Halloween” and “A Nightmare on Elm Street.” In that film, Freddy Krueger was the villain that slashed people in their dreams. Legend has it he was conceived when a nun at a mental hospital was locked in a room full of criminally insane men.\u003c/p>\n\u003cp>“They said that Freddy is the offspring of a thousand maniacs,” Wedding says.\u003c/p>\n\u003cp>Myth No. 2: People become mentally ill because of some traumatic event that happened.\u003c/p>\n\u003cp>Think of Robin Williams, who plays a character with schizophrenia in “The Fisher King,” Wedding says: “His symptoms develop after a traumatic event in which his girlfriend is killed in a restaurant.”\u003c/p>\n\u003cp>Some myths have persisted, like No. 3: Love will conquer mental illness.\u003c/p>\n\u003cp>You see this everywhere, Wedding says: “A Beautiful Mind,” “Mozart and the Whale,” “Benny & Joon.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LlmtpC2sRC8\u003c/p>\n\u003cp>“You leave the theater thinking that Joon is gonna be OK because she’s found her true love,” he says. “But the fact is that schizophrenia is an illness that is chronic and cyclical, and oftentimes people who are loved very much by their families still have to grapple with the challenges of mental illness. They still get sick. Love is important. It’s not sufficient.”\u003c/p>\n\u003cp>It’s like that in “Ferris Bueller,” too. Cameron has a breakthrough at the end of the film. He decides he is not going to live in fear anymore. He is going to stand up to his dad. And all it took was a day off from school with his best friend.\u003c/p>\n\u003cp>[aside tag='mental-health' label='More Coverage']Today’s teenagers, Emma and Elliot Singer, say, “Yeah right.”\u003c/p>\n\u003cp>“It’s not realistic,” Emma says.\u003c/p>\n\u003cp>“I kind of agree,” Elliot replies. “I think it was like an abrupt romanticized transition for him.”\u003c/p>\n\u003cp>Their dad makes his case, tries to bring them around. He says the themes from the movie back then are the same as they are now.\u003c/p>\n\u003cp>“We have different words and maybe we talk about it more with more specificity or more transparency, but they were all still there, right?” he says. “Anxiety for teenagers, anxiety about the future, where do you go to college. It’s age-old.”\u003c/p>\n\u003cp>Elliot says, I dunno. It was funny. Maybe if she watches it another 11 times, she’ll see what her dad sees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Singer clicks through iTunes looking for “Ferris Bueller’s Day Off,” a film he watched at least 12 times when it first came out in 1986. He was in his early 20s then.\u003c/p>\n\u003cp>“You’re old,” his younger daughter mutters, as she nudges her dad to choose the HD version.\u003c/p>\n\u003cp>Singer has high hopes as he settles in to watch the film with his wife and their two daughters, Emma, 13, and Elliot, 16, at their home in San Francisco.\u003c/p>\n\u003cp>“I want them to fall in love with it, just the way I did,” he says, as the opening scenes begin to roll. “Getting them to watch a movie from my younger days is always a challenge. They look slower and not as much in focus.”\u003c/p>\n\u003cp>Singer is like so many other people who came of age in the 1980s and idolized Ferris Bueller. For them, it will always be a fun movie about a kid faking being sick and skipping school.\u003c/p>\n\u003cp>“He was just having a load of fun,” Singer says, remembering Ferris at the Cubs game and singing on the float in downtown Chicago. “Everyone has a friend like his buddy, who’s kind of a sad sack.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But more than 30 years later, Cameron Frye, and his friendship with Ferris, look different through the eyes of today’s teens. They notice different themes and different dynamics. Watching the film from today’s perspective and applying today’s vocabulary, it’s clear that Cameron wasn’t just a sad sack — he was depressed and anxious.\u003c/p>\n\u003cp>“I’m dying,” he groans in his first scene, cocooned in bed, staring at the ceiling. To which Ferris responds, “You’re not dying. You just can’t think of anything good to do.”\u003c/p>\n\u003cp>Throughout the film, Cameron’s fear is the foil to Ferris’ free spirit.\u003c/p>\n\u003cp>When they borrow Cameron’s dad’s precious Ferrari and things go wrong, Cameron “goes berserk,” in Ferris’ words, then spends the next several scenes in a catatonic state.\u003c/p>\n\u003cp>“Maybe he’s really sick,” Ferris says, nibbling an Oreo in a hot tub while Cameron stares straight ahead over the swimming pool. “Maybe he isn’t just torturing himself.”\u003c/p>\n\u003cp>Then Cameron tumbles into the pool, fully clothed, and sinks to the bottom. Ferris dives in to save him. It’s an ambiguous move — in the end, a prank, but with hints of suicide.\u003c/p>\n\u003cp>“Ferris Bueller, you’re my hero,” Cameron says sarcastically.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D6gABQFR94U'\n title='//www.youtube.com/embed/D6gABQFR94U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>From Hero to Jerk\u003c/strong>\u003c/p>\n\u003cp>When David Singer watched this film in the ’80s, he did think of Ferris as a hero. But that wasn’t his daughter Elliot’s first reaction.\u003c/p>\n\u003cp>“I kinda hated him,” she says to her dad. “Ferris kinda sucks.”\u003c/p>\n\u003cp>He orders Cameron to get out of bed and pick him up, forces him to take his dad’s car, then dismisses Cameron’s concerns and blows him off as a worrier.\u003c/p>\n\u003cp>“He’s a very fun character,” Elliot says of Ferris. “But he’s also kind of an asshole.”\u003c/p>\n\u003cp>Plus, this whole taking-a-day-off-from-school business, pretending to be sick — that’s not how it goes down in her world. Elliot is a junior at Lick-Wilmerding, a private high school in San Francisco with a reputation for being high pressure.\u003c/p>\n\u003cp>“People come to school sick because, honestly, at the type of school I’m at, it’s more stressful not to be at school,” she says. “Going and having a fun day is really fun. But it’s also not fun – the amount of stuff you miss in a day.”\u003c/p>\n\u003cp>Elliot has had her own struggles with anxiety. It makes sense that she would pick up on different themes in the film than her dad and his generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since “Ferris Bueller” was made, teenage suicide rates have spiked, especially among young girls, according to \u003ca href=\"https://www.cdc.gov/nchs/data/databriefs/db241.pdf\" target=\"_blank\" rel=\"noopener\">CDC data\u003c/a>. And 70% of today’s teens view anxiety and depression as a major problem, according to a recent \u003ca href=\"https://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">study from the Pew Research Center\u003c/a>.\u003c/p>\n\u003cp>“The viewing public is much more attuned to mental illness and the problems confronting people who are coping with mental illness,” says Danny Wedding, a psychologist from Berkeley, who wrote the \u003ca href=\"https://books.google.com/books/about/Movies_and_Mental_Illness.html?id=20RfAgAAQBAJ\" target=\"_blank\" rel=\"noopener\">textbook “Movies and Mental Illness.”\u003c/a> He is working on the fifth edition now.\u003c/p>\n\u003cp>“In the 1980s, there might have been a tendency to see these as just rebellious teenagers misbehaving and causing trouble,” he says. “Now, we’re more likely to be sensitive to the mental illness themes and to see Cameron as somebody coping with depression.”\u003c/p>\n\u003cp>And the Ferrari? Wedding sees it as a metaphor for all the times his father failed to respond to Cameron’s needs.\u003c/p>\n\u003cp>Film representations began to change in the late 1980s and ’90s with films like “Rain Man,” which started explicitly addressing mental health, Wedding says. As public awareness grew, films got better. As films got better, public awareness grew more.\u003c/p>\n\u003cp>“One of the things that happened is that directors increasingly turned to mental health consultants to advise on films, and that happened in the ’90s,” he says.\u003c/p>\n\u003cp>\u003cstrong>Movie Myths Then and Now\u003c/strong>\u003c/p>\n\u003cp>But before that, movies were rife with subtle, subliminal messages about mental illness, often through sidekick characters like Cameron. All sorts of negative stereotypes were promulgated, Wedding says. He boils them down to three common myths.\u003c/p>\n\u003cp>Myth No. 1: People become mentally ill because their parents treated them badly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Sybil” and “Carrie” are examples of this, as are all the horror films of the ’80s, like “Halloween” and “A Nightmare on Elm Street.” In that film, Freddy Krueger was the villain that slashed people in their dreams. Legend has it he was conceived when a nun at a mental hospital was locked in a room full of criminally insane men.\u003c/p>\n\u003cp>“They said that Freddy is the offspring of a thousand maniacs,” Wedding says.\u003c/p>\n\u003cp>Myth No. 2: People become mentally ill because of some traumatic event that happened.\u003c/p>\n\u003cp>Think of Robin Williams, who plays a character with schizophrenia in “The Fisher King,” Wedding says: “His symptoms develop after a traumatic event in which his girlfriend is killed in a restaurant.”\u003c/p>\n\u003cp>Some myths have persisted, like No. 3: Love will conquer mental illness.\u003c/p>\n\u003cp>You see this everywhere, Wedding says: “A Beautiful Mind,” “Mozart and the Whale,” “Benny & Joon.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LlmtpC2sRC8'\n title='//www.youtube.com/embed/LlmtpC2sRC8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You leave the theater thinking that Joon is gonna be OK because she’s found her true love,” he says. “But the fact is that schizophrenia is an illness that is chronic and cyclical, and oftentimes people who are loved very much by their families still have to grapple with the challenges of mental illness. They still get sick. Love is important. It’s not sufficient.”\u003c/p>\n\u003cp>It’s like that in “Ferris Bueller,” too. Cameron has a breakthrough at the end of the film. He decides he is not going to live in fear anymore. He is going to stand up to his dad. And all it took was a day off from school with his best friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today’s teenagers, Emma and Elliot Singer, say, “Yeah right.”\u003c/p>\n\u003cp>“It’s not realistic,” Emma says.\u003c/p>\n\u003cp>“I kind of agree,” Elliot replies. “I think it was like an abrupt romanticized transition for him.”\u003c/p>\n\u003cp>Their dad makes his case, tries to bring them around. He says the themes from the movie back then are the same as they are now.\u003c/p>\n\u003cp>“We have different words and maybe we talk about it more with more specificity or more transparency, but they were all still there, right?” he says. “Anxiety for teenagers, anxiety about the future, where do you go to college. It’s age-old.”\u003c/p>\n\u003cp>Elliot says, I dunno. It was funny. Maybe if she watches it another 11 times, she’ll see what her dad sees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Black directors had a “banner year” in 2018, according to the \u003ca href=\"https://annenberg.usc.edu/research/aii\" rel=\"noopener\" target=\"_blank\">USC Annenberg Inclusion Initiative\u003c/a>. The organization, which tracks diversity in Hollywood, says there were 16 black directors with films among last year’s 100 top-grossing scripted movies — a big leap from 2017, when there were only six.\u003c/p>\n\u003cp>The tally in 2018 is by far the most the Annenberg Inclusion Initiative has recorded in a single year, and it doubles the number found in 2007, the group’s first year of data.\u003c/p>\n\u003cp>“Now that studios have proven that they can hire Black directors in proportion to the population,” the study’s authors said in \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-directors-chair-2019.pdf\" rel=\"noopener\" target=\"_blank\">the report released Friday\u003c/a>, “it becomes critical that they \u003cem>continue\u003c/em> to do so.”\u003c/p>\n\u003cp>That said, the report did not offer much else for inclusion advocates to cheer. The director’s chair and producers’ offices remain overwhelmingly occupied by white men — and the group offered some stark numbers to illustrate how.\u003c/p>\n\u003cp>Just one of those 16 black directors — \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/09/04/492295111/ava-duvernay-and-queen-sugar-celebrating-diversity-inclusivity-in-tv\" rel=\"noopener\" target=\"_blank\">Ava DuVernay\u003c/a> — is a woman. And if one includes directors of all races, the number of women that helmed top-grossing films rises to just four. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That accords with another study, also \u003ca href=\"https://womenintvfilm.sdsu.edu/wp-content/uploads/2019/01/2018_Celluloid_Ceiling_Report.pdf\" rel=\"noopener\" target=\"_blank\">released this week\u003c/a> by San Diego State University’s \u003ca href=\"https://womenintvfilm.sdsu.edu/about-us/\" rel=\"noopener\" target=\"_blank\">Center for the Study of Women in Television and Film\u003c/a>. The SDSU report, in expanding the scope of its survey, found that women also represented just 8 percent of the directors of the top 250 top-grossing films.\u003c/p>\n\u003cp>And last year’s low numbers are no aberration.\u003c/p>\n\u003cp>“They’ve been stagnant for over a decade, so these results are no surprise,” \u003ca href=\"https://womenandhollywood.com/\" rel=\"noopener\" target=\"_blank\">Melissa Silverstein\u003c/a>, founder of Women and Hollywood, \u003ca href=\"https://www.npr.org/2019/01/03/682021541/study-shows-women-remain-underrepresented-in-the-directors-chair\" rel=\"noopener\" target=\"_blank\">tells NPR\u003c/a>.\u003c/p>\n\u003cp>Silverstein is not affiliated with either of the two surveys released this week, but as the publisher of her own website devoted to the issue, she says she has fought for more than a decade to see greater representation of women and people of color in Hollywood.\u003c/p>\n\u003cp>“Really, what this is is about access to opportunities and access to capital,” she says. “Women have to be able to operate at the highest levels of the business, and that has been an area that has been very cut off for women and also people of color.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">Oakland’s Two Black Panthers: The Movie and the Movement\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/black1.jpeg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>The USC Annenberg Inclusion Initiative report also makes this point about the industry’s highest levels, finding that white men make up more than 72 percent of the producers on the top 300 films of the past three years. And Silverstein says that proportion has a tendency to trickle down to all the positions on set.\u003c/p>\n\u003cp>“The producers are the people who are the driving force of the film. They do the hiring,” she says. “So if you have a female producer who’s pushing these movies along — and they could be pushing multiple movies along at the same time — then you are going to see a different kind of hiring that goes on.”\u003c/p>\n\u003cp>Still, there are some signs that Hollywood may be lurching toward more inclusive hiring. Beyond the leap in the number of black directors — including Ryan Coogler, director of 2018’s \u003ca href=\"https://www.boxofficemojo.com/yearly/chart/?p=.htm&yr=2018\" rel=\"noopener\" target=\"_blank\">highest-grossing film\u003c/a>, \u003cem>Black Panther\u003c/em> — a study \u003ca href=\"https://shift7.com/media-research\" rel=\"noopener\" target=\"_blank\">released just last month\u003c/a> showed that when a woman stars in a film, it does better at the box office worldwide.\u003c/p>\n\u003cp>And advocates say the same financial success can be repeated — if only women and people of color get the chance, not only in front of the camera but behind it as well.\u003c/p>\n\u003cp>“While many of the numbers are bleak, transformation can occur rapidly by setting target inclusion goals, adopting transparency in hiring practices, and calling for broader industry change,” say the authors of Friday’s study.\u003c/p>\n\u003cp>“As diverse storytellers flock from film to steaming platforms to tell their stories, the words of James Baldwin are a gentle reminder to movie executives: ‘Those who say it can’t be done are usually interrupted by others doing it.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black directors had a “banner year” in 2018, according to the \u003ca href=\"https://annenberg.usc.edu/research/aii\" rel=\"noopener\" target=\"_blank\">USC Annenberg Inclusion Initiative\u003c/a>. The organization, which tracks diversity in Hollywood, says there were 16 black directors with films among last year’s 100 top-grossing scripted movies — a big leap from 2017, when there were only six.\u003c/p>\n\u003cp>The tally in 2018 is by far the most the Annenberg Inclusion Initiative has recorded in a single year, and it doubles the number found in 2007, the group’s first year of data.\u003c/p>\n\u003cp>“Now that studios have proven that they can hire Black directors in proportion to the population,” the study’s authors said in \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-directors-chair-2019.pdf\" rel=\"noopener\" target=\"_blank\">the report released Friday\u003c/a>, “it becomes critical that they \u003cem>continue\u003c/em> to do so.”\u003c/p>\n\u003cp>That said, the report did not offer much else for inclusion advocates to cheer. The director’s chair and producers’ offices remain overwhelmingly occupied by white men — and the group offered some stark numbers to illustrate how.\u003c/p>\n\u003cp>Just one of those 16 black directors — \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/09/04/492295111/ava-duvernay-and-queen-sugar-celebrating-diversity-inclusivity-in-tv\" rel=\"noopener\" target=\"_blank\">Ava DuVernay\u003c/a> — is a woman. And if one includes directors of all races, the number of women that helmed top-grossing films rises to just four. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That accords with another study, also \u003ca href=\"https://womenintvfilm.sdsu.edu/wp-content/uploads/2019/01/2018_Celluloid_Ceiling_Report.pdf\" rel=\"noopener\" target=\"_blank\">released this week\u003c/a> by San Diego State University’s \u003ca href=\"https://womenintvfilm.sdsu.edu/about-us/\" rel=\"noopener\" target=\"_blank\">Center for the Study of Women in Television and Film\u003c/a>. The SDSU report, in expanding the scope of its survey, found that women also represented just 8 percent of the directors of the top 250 top-grossing films.\u003c/p>\n\u003cp>And last year’s low numbers are no aberration.\u003c/p>\n\u003cp>“They’ve been stagnant for over a decade, so these results are no surprise,” \u003ca href=\"https://womenandhollywood.com/\" rel=\"noopener\" target=\"_blank\">Melissa Silverstein\u003c/a>, founder of Women and Hollywood, \u003ca href=\"https://www.npr.org/2019/01/03/682021541/study-shows-women-remain-underrepresented-in-the-directors-chair\" rel=\"noopener\" target=\"_blank\">tells NPR\u003c/a>.\u003c/p>\n\u003cp>Silverstein is not affiliated with either of the two surveys released this week, but as the publisher of her own website devoted to the issue, she says she has fought for more than a decade to see greater representation of women and people of color in Hollywood.\u003c/p>\n\u003cp>“Really, what this is is about access to opportunities and access to capital,” she says. “Women have to be able to operate at the highest levels of the business, and that has been an area that has been very cut off for women and also people of color.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">Oakland’s Two Black Panthers: The Movie and the Movement\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/black1.jpeg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>The USC Annenberg Inclusion Initiative report also makes this point about the industry’s highest levels, finding that white men make up more than 72 percent of the producers on the top 300 films of the past three years. And Silverstein says that proportion has a tendency to trickle down to all the positions on set.\u003c/p>\n\u003cp>“The producers are the people who are the driving force of the film. They do the hiring,” she says. “So if you have a female producer who’s pushing these movies along — and they could be pushing multiple movies along at the same time — then you are going to see a different kind of hiring that goes on.”\u003c/p>\n\u003cp>Still, there are some signs that Hollywood may be lurching toward more inclusive hiring. Beyond the leap in the number of black directors — including Ryan Coogler, director of 2018’s \u003ca href=\"https://www.boxofficemojo.com/yearly/chart/?p=.htm&yr=2018\" rel=\"noopener\" target=\"_blank\">highest-grossing film\u003c/a>, \u003cem>Black Panther\u003c/em> — a study \u003ca href=\"https://shift7.com/media-research\" rel=\"noopener\" target=\"_blank\">released just last month\u003c/a> showed that when a woman stars in a film, it does better at the box office worldwide.\u003c/p>\n\u003cp>And advocates say the same financial success can be repeated — if only women and people of color get the chance, not only in front of the camera but behind it as well.\u003c/p>\n\u003cp>“While many of the numbers are bleak, transformation can occur rapidly by setting target inclusion goals, adopting transparency in hiring practices, and calling for broader industry change,” say the authors of Friday’s study.\u003c/p>\n\u003cp>“As diverse storytellers flock from film to steaming platforms to tell their stories, the words of James Baldwin are a gentle reminder to movie executives: ‘Those who say it can’t be done are usually interrupted by others doing it.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>California lawmakers passed legislation Monday that puts more conditions on state film tax credits in an effort to encourage better sexual harassment reporting and diverse hiring. The move comes amid revelations of misconduct and discrimination in the movie industry.\u003c/p>\n\u003cp>The legislation would require feature film and television projects that apply for the credits, which are assigned based on jobs created, to report diversity statistics to the state and designate people to handle misconduct claims. The revised tax credit program, worth as much as $330 million per year, would also require applicants to submit their policy prohibiting harassment and retaliation. In addition, major studios would have to report whether they have diversity programs.\u003c/p>\n\u003cp>\"If you don't have a program, you're going to have to report that you don't have a program,\" said Democratic Assemblyman Ian Calderon, who helped craft the bill. \"That doesn't look very good.\"\u003c/p>\n\u003cp>Assemblyman Rob Bonta and other members of the Asian & Pacific Islander caucus pushed for the diversity reporting requirements. The Alameda Democrat cited the films \"Ghost in the Shell\" and \"The Great Wall,\" which cast white actors in leading roles he said should have gone to Asian actors. He said the films were \"hurtful\" to the Asian Pacific Islander community.\u003c/p>\n\u003cp>\"We wanted to be productive in our solution and provide some support in terms of encouraging diversity in Hollywood, and we think this will do that,\" said Bonta of the change to the credit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bill was negotiated as part of the state budget. It was approved Monday by the Assembly and state Senate and now goes to Gov. Jerry Brown, who is expected to sign it. The new version of the program would start in 2020.\u003c/p>\n\u003cp>Republican Assemblyman James Gallagher of Yuba City, the only lawmaker to vote against the bill, said he didn't believe it would prevent sexual misconduct because projects would only have to show they have a policy and not prove that they enforce it. He also said the state shouldn't single out the politically powerful industry for a tax break anyway.\u003c/p>\n\u003cp>\"I think it really misses Me Too,\" he said, referring to the movement against sexual harassment sparked when \u003ca href=\"https://www.kqed.org/arts/13833507/harvey-weinstein-charged-with-rape-after-surrendering-to-n-y-police\" target=\"_blank\" rel=\"noopener\">dozens of women publicly accused movie producer Harvey Weinstein of rape, assault and harassment\u003c/a>.\u003c/p>\n\u003cp>To attract jobs and economic activity, more than 30 states give tax breaks to film and TV productions. California created its program in 2009 and it has been hailed for keeping productions in the state. Feature films and television shows apply for the credit before they begin filming. The California Film Commission, the state agency that oversees the program, prioritizes the projects that will generate the most jobs.\u003c/p>\n\u003cp>HBO's \"Westworld,\" for example, planned nearly 300 filming days in California and was approved for nearly $30 million in credits, contingent on meeting the targets in its application. The film \"A Wrinkle in Time\" was slated to receive more than $18 million in credits.\u003c/p>\n\u003cp>The film commission assigns credits based on a production's \"below the line\" jobs, including set builders, makeup artists and extras — not the highest-profile workers, such as starring actors and directors.\u003c/p>\n\u003cp>Under the new law, applicants who receive the tax credit would help fund a program to train people from underrepresented communities to do \"below the line\" jobs on film sets.\u003c/p>\n\u003cp>The industry initially expressed reservations about some of the diversity reporting requirements but supported the final version of the bill, said Bonta.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The high-level concept of wanting more diversity in film, there was always agreement on that,\" he said. \"How we get there, how it becomes part of the film tax credit, was always a concern.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California lawmakers passed legislation Monday that puts more conditions on state film tax credits in an effort to encourage better sexual harassment reporting and diverse hiring. The move comes amid revelations of misconduct and discrimination in the movie industry.\u003c/p>\n\u003cp>The legislation would require feature film and television projects that apply for the credits, which are assigned based on jobs created, to report diversity statistics to the state and designate people to handle misconduct claims. The revised tax credit program, worth as much as $330 million per year, would also require applicants to submit their policy prohibiting harassment and retaliation. In addition, major studios would have to report whether they have diversity programs.\u003c/p>\n\u003cp>\"If you don't have a program, you're going to have to report that you don't have a program,\" said Democratic Assemblyman Ian Calderon, who helped craft the bill. \"That doesn't look very good.\"\u003c/p>\n\u003cp>Assemblyman Rob Bonta and other members of the Asian & Pacific Islander caucus pushed for the diversity reporting requirements. The Alameda Democrat cited the films \"Ghost in the Shell\" and \"The Great Wall,\" which cast white actors in leading roles he said should have gone to Asian actors. He said the films were \"hurtful\" to the Asian Pacific Islander community.\u003c/p>\n\u003cp>\"We wanted to be productive in our solution and provide some support in terms of encouraging diversity in Hollywood, and we think this will do that,\" said Bonta of the change to the credit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bill was negotiated as part of the state budget. It was approved Monday by the Assembly and state Senate and now goes to Gov. Jerry Brown, who is expected to sign it. The new version of the program would start in 2020.\u003c/p>\n\u003cp>Republican Assemblyman James Gallagher of Yuba City, the only lawmaker to vote against the bill, said he didn't believe it would prevent sexual misconduct because projects would only have to show they have a policy and not prove that they enforce it. He also said the state shouldn't single out the politically powerful industry for a tax break anyway.\u003c/p>\n\u003cp>\"I think it really misses Me Too,\" he said, referring to the movement against sexual harassment sparked when \u003ca href=\"https://www.kqed.org/arts/13833507/harvey-weinstein-charged-with-rape-after-surrendering-to-n-y-police\" target=\"_blank\" rel=\"noopener\">dozens of women publicly accused movie producer Harvey Weinstein of rape, assault and harassment\u003c/a>.\u003c/p>\n\u003cp>To attract jobs and economic activity, more than 30 states give tax breaks to film and TV productions. California created its program in 2009 and it has been hailed for keeping productions in the state. Feature films and television shows apply for the credit before they begin filming. The California Film Commission, the state agency that oversees the program, prioritizes the projects that will generate the most jobs.\u003c/p>\n\u003cp>HBO's \"Westworld,\" for example, planned nearly 300 filming days in California and was approved for nearly $30 million in credits, contingent on meeting the targets in its application. The film \"A Wrinkle in Time\" was slated to receive more than $18 million in credits.\u003c/p>\n\u003cp>The film commission assigns credits based on a production's \"below the line\" jobs, including set builders, makeup artists and extras — not the highest-profile workers, such as starring actors and directors.\u003c/p>\n\u003cp>Under the new law, applicants who receive the tax credit would help fund a program to train people from underrepresented communities to do \"below the line\" jobs on film sets.\u003c/p>\n\u003cp>The industry initially expressed reservations about some of the diversity reporting requirements but supported the final version of the bill, said Bonta.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The high-level concept of wanting more diversity in film, there was always agreement on that,\" he said. \"How we get there, how it becomes part of the film tax credit, was always a concern.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For nearly 10 years, residents in a Central Valley farming community have had to drive nearly 40 miles to see the latest film, a rare trip for some in a place where a third of the population lives in poverty.\u003c/p>\n\u003cp>That all changed in May when Moctesuma Esparza, a Latino movie producer, opened his latest Maya Cinemas theater in Delano in his ongoing effort to open theaters in poor, rural areas in the U.S. that lack entertainment options. The $20 million project gives Delano’s 53,000 residents access to recent movie releases in a high-end experience with luxury seating. In 1965, Delano helped spark Cesar Chavez’s farm worker union movement.\u003c/p>\n\u003cp>Esparza, who produced the 1997 movie “Selena” and has opened up four identical theaters in poor areas in California, said poverty shouldn’t sentence residents to “movie deserts” where inexpensive leisure is limited. He has vowed to do his part to change the landscape in rural America.\u003c/p>\n\u003cp>For years, rural communities in Appalachia, the American Southwest and the Mississippi Delta have seen small theaters close due to the high cost of technology updates and to economic downturns that discourage investors from taking over struggling movie houses.\u003c/p>\n\u003cp>Data from the National Association of Theater Owners, the trade organization that represents exhibitors, also found that the overall number of U.S. cinema sites fell 25 percent from 1995 to 2018. However, the number of screens spiked 45 percent, largely as a result of an increase in megaplex movie theaters opening in urban areas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The group estimates about 10,000 screens could go dark soon because small independent and rural theaters can’t afford to make digital upgrades that modern movies require.\u003c/p>\n\u003cp>Being in a rural area that may lack broadband or have spotty cell service that makes streaming services like Netflix and Hulu difficult to access, combined with the absence of a movie theater, can be isolating or just boring.\u003c/p>\n\u003cp>“We have nothing out here,” said Chanika Green, 18, of Shelby, Mississippi, a town of around 3,000 residents two hours south of Memphis, Tennessee. “No movie theater, nothing. It’d be nice to have something so we could do something.”\u003c/p>\n\u003cp>The lack of a movie theater and basic leisure like skating rinks hurts struggling regions that have seen jobs leave, said Robby Moore, mayor of Lobelville, Tennessee. Residents in rural areas often have to travel more than an hour to watch a movie.\u003c/p>\n\u003cp>That’s why Esparza began building theaters in underserved areas in 2000. The theaters also provide jobs.\u003c/p>\n\u003cp>“I saw a business opportunity. But what I soon realized was that I have to become a developer, too,” Esparza said. “Few people were investing in these communities.”\u003c/p>\n\u003cfigure id=\"attachment_11672271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11672271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/GettyImages-89996832-800x1025.jpg\" alt=\"Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in the Central California city of 53,000 people as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options.\" width=\"800\" height=\"1025\">\u003cfigcaption class=\"wp-caption-text\">Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in Delano, a Central California city of 53,000, as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options. \u003ccite>( Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esparza is erecting megaplex movie theaters in rural Latino areas in California. Besides Delano, theaters have opened in Salinas, Bakersfield, Pittsburg and Fresno.\u003c/p>\n\u003cp>His next theater is being planned for North Las Vegas. He says a developer could do the same for rural areas in Kentucky, West Virginia and the Deep South, if they research the need and build complexes that give moviegoers a special experience.\u003c/p>\n\u003cp>Some states are encouraging local communities to take active steps to bring movies to town.\u003c/p>\n\u003cp>New Mexico announced two years ago that it was joining other states in pushing an initiative to revitalize downtown districts in isolated small towns by rehabilitating aging, historic theaters.\u003c/p>\n\u003cp>An economic development program, similar to efforts in Iowa and Illinois, seeks to save often-forgotten facilities like the Shuler Theater in Raton, New Mexico — a poor and rural area. The program helps refurbish buildings and gives grants for new digital projection and sound equipment.\u003c/p>\n\u003cp>New Mexico officials believe that reviving theaters in ranching towns and small cities near American Indian reservations will help create jobs in struggling downtown districts and spark excitement in entertainment deserts.\u003c/p>\n\u003cp>The Gates Family Foundation also is awarding $10,000 to $30,000 grants to rural communities to purchase new digital equipment for movie theaters.\u003c/p>\n\u003cp>Esparza says that, like food and shelter, all people need the communal experience that movies provide.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everyone should have a right to dream,” Esparza said. “Movies allow people to dream, to think of a world outside their experiences.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The group estimates about 10,000 screens could go dark soon because small independent and rural theaters can’t afford to make digital upgrades that modern movies require.\u003c/p>\n\u003cp>Being in a rural area that may lack broadband or have spotty cell service that makes streaming services like Netflix and Hulu difficult to access, combined with the absence of a movie theater, can be isolating or just boring.\u003c/p>\n\u003cp>“We have nothing out here,” said Chanika Green, 18, of Shelby, Mississippi, a town of around 3,000 residents two hours south of Memphis, Tennessee. “No movie theater, nothing. It’d be nice to have something so we could do something.”\u003c/p>\n\u003cp>The lack of a movie theater and basic leisure like skating rinks hurts struggling regions that have seen jobs leave, said Robby Moore, mayor of Lobelville, Tennessee. Residents in rural areas often have to travel more than an hour to watch a movie.\u003c/p>\n\u003cp>That’s why Esparza began building theaters in underserved areas in 2000. The theaters also provide jobs.\u003c/p>\n\u003cp>“I saw a business opportunity. But what I soon realized was that I have to become a developer, too,” Esparza said. “Few people were investing in these communities.”\u003c/p>\n\u003cfigure id=\"attachment_11672271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11672271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/GettyImages-89996832-800x1025.jpg\" alt=\"Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in the Central California city of 53,000 people as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options.\" width=\"800\" height=\"1025\">\u003cfigcaption class=\"wp-caption-text\">Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in Delano, a Central California city of 53,000, as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options. \u003ccite>( Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esparza is erecting megaplex movie theaters in rural Latino areas in California. Besides Delano, theaters have opened in Salinas, Bakersfield, Pittsburg and Fresno.\u003c/p>\n\u003cp>His next theater is being planned for North Las Vegas. He says a developer could do the same for rural areas in Kentucky, West Virginia and the Deep South, if they research the need and build complexes that give moviegoers a special experience.\u003c/p>\n\u003cp>Some states are encouraging local communities to take active steps to bring movies to town.\u003c/p>\n\u003cp>New Mexico announced two years ago that it was joining other states in pushing an initiative to revitalize downtown districts in isolated small towns by rehabilitating aging, historic theaters.\u003c/p>\n\u003cp>An economic development program, similar to efforts in Iowa and Illinois, seeks to save often-forgotten facilities like the Shuler Theater in Raton, New Mexico — a poor and rural area. The program helps refurbish buildings and gives grants for new digital projection and sound equipment.\u003c/p>\n\u003cp>New Mexico officials believe that reviving theaters in ranching towns and small cities near American Indian reservations will help create jobs in struggling downtown districts and spark excitement in entertainment deserts.\u003c/p>\n\u003cp>The Gates Family Foundation also is awarding $10,000 to $30,000 grants to rural communities to purchase new digital equipment for movie theaters.\u003c/p>\n\u003cp>Esparza says that, like food and shelter, all people need the communal experience that movies provide.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everyone should have a right to dream,” Esparza said. “Movies allow people to dream, to think of a world outside their experiences.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>The 90th annual Oscars ceremony kicks off this Sunday. And, as Hollywood prepares for its closeup, there's no doubt going to be a bit of heartburn beneath the gowns and tuxedos of those hoping to put some distance between the industry and a cascade of sex abuse scandals.\u003c/p>\n\u003cp>This week the street artists \u003ca href=\"http://www.plasticjesus.net/\" target=\"_blank\" rel=\"noopener\">Plastic Jesus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=5GKidbBsnsc\" target=\"_blank\" rel=\"noopener\">Joshua “Ginger” Monroe\u003c/a> unveiled a life size sidewalk sculpture of a corpulent Harvey Weinstein lounging on a gold casting couch in a shall we say, skin- revealing bathrobe - all but daring passersby to slide in beside him.\u003c/p>\n\u003cfigure id=\"attachment_11653241\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11653241 size-medium\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/GettyImages-926038258-1-800x519.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-1020x661.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-1180x765.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-960x623.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-240x156.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-375x243.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman walks past a gold sculpture of Harvey Weinstein on his infamous casting couch holding an Oscar statue beside Elvis Presley's Walk of Fame Star in Hollywood, California on March 1, 2018, where artists Plastic Jesus and Joshua Monroe displayed their creation days before the 90th Oscars Awards on Sunday, March 4. \u003ccite>(FREDERIC J. BROWN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The piece was installed at the intersection of Hollywood Boulevard and La Brea Avenue, a 5-minute stroll from the Dolby Theatre where the awards ceremony will be held.\u003c/p>\n\u003cp>Actress \u003ca href=\"https://twitter.com/rosemcgowan?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Rose McGowan\u003c/a> was among the first to go public with allegations of sexual abuse by the movie mogul Weinstein. Many people in Hollywood knew of Weinstein’s behavior, but did not speak up. Some even protected him.\u003c/p>\n\u003cp>That’s why McGowan is openly questioning the sincerity of the \u003ca href=\"https://www.timesupnow.com/\" target=\"_blank\" rel=\"noopener\">Time’s Up Now \u003c/a>campaign when it’s endorsed by certain celebrities and industry executives .\u003c/p>\n\u003cfigure id=\"attachment_11653170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11653170\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-800x505.jpg\" alt=\"\" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-1020x644.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-1180x745.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-960x606.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-240x152.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-375x237.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-520x328.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Rose McGowan recently appeared on ABC’s The View to discuss her new memoir “Brave” and sexual misconduct in Hollywood. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is fake, I wish it weren’t, I wish everyone was good,\" McGowan said in an \u003ca href=\"https://www.youtube.com/watch?v=EW3KD4kqqug\" target=\"_blank\" rel=\"noopener\">appearance on the ABC daytime show “The View”\u003c/a> last month. \"I’m sorry to puncture your heroes. But sometimes these heroes need to be better.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She didn’t mince words about the \u003ca href=\"http://www.caa.com/\" target=\"_blank\" rel=\"noopener\">Creative Artists Agency \u003c/a>during that appearance either. CAA is one of the biggest talent managers in Hollywood. Name the box office star and there’s a good chance they are currently or have been a CAA client.\u003c/p>\n\u003cp>Some CAA agents are alleged to have known of Weinstein’s predatory ways but continued to steer young actresses in his direction for private, one-on-one meetings.\u003c/p>\n\u003cp>Now CAA is instrumental in helping organize the Time’s Up campaign through its philanthropic arm and a steering group of A-list actresses, agents and other public figures.\u003c/p>\n\u003cfigure id=\"attachment_11653179\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11653179\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-800x891.png\" alt=\"\" width=\"800\" height=\"891\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-800x891.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-160x178.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-1020x1136.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-1180x1314.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-960x1069.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-240x267.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-375x418.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-520x579.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A manifesto of sorts announced the creation of Time’s Up Now in January. \u003ccite>(Time's Up Now)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The intentions are good. But I know the people behind it you know,” McGowan said. “It’s four CAA agents who needed good PR, and I hope desperately that they help these women.”\u003c/p>\n\u003cp>The California Report reached out to CAA and eventually one of the executive involved in the Time’s Up effort agreed to talk as long as she wasn't quoted directly.\u003c/p>\n\u003cp>She said the small group of female CAA executives was inspired by the Me Too movement and wanted to use their clout and connections to create a mechanism where victims of sexual abuse and harassment can find support and justice. And they want to stop such misconduct in the future. And not just in Hollywood, but across a wide swath of industries, professions and institutions.\u003c/p>\n\u003cp>To that end CAA banded together with a core group of fellow female executives from two powerful Hollywood public relations firms, Sunshine Sachs and \u003ca href=\"http://42west.net/\" target=\"_blank\" rel=\"noopener\">42 West\u003c/a>, to help launch Time’s Up in January.\u003c/p>\n\u003cp>All three firms have also done businesses with Harvey Weinstein or his company at one time or another. And there were other clients whose names have surfaced as alleged abusers as well.\u003c/p>\n\u003cp>But as numerous people pointed out during interviews for this story, Hollywood is a pretty small ‘factory town.’ And the air is even more rarefied at the upper tiers of the business where one might find oneself representing, working for or with the likes of a Harvey Weinstein.\u003c/p>\n\u003cp>“Well in terms of real clout, it’s a small community and people pretty much know each other,” says Kim Masters, editor-at-large at \u003ca href=\"https://www.hollywoodreporter.com/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>. She’s reported on the film and TV industry for nearly 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11653256\" class=\"wp-caption alignright\" style=\"max-width: 219px\">\u003cimg class=\"size-full wp-image-11653256\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/times-up-KIM-MASTERS-1.jpg\" alt=\"\" width=\"219\" height=\"155\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/times-up-KIM-MASTERS-1.jpg 219w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/times-up-KIM-MASTERS-1-160x113.jpg 160w\" sizes=\"(max-width: 219px) 100vw, 219px\">\u003cfigcaption class=\"wp-caption-text\">The Hollywood Reporter's Kim Masters \u003ccite>(The Hollywood Reporter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of people were looking at CAA especially, because so many of the stars who were in Harvey Weinstein movies, were CAA clients,” Masters said. “There was a feeling that there was a pipeline between Harvey and CAA. I also think they know what good PR is, and this (Time’s Up) is good PR.”\u003c/p>\n\u003cp>CAA’s involvement with Time’s Up fits with the 43-year old company’s years-long tradition of philanthropy and championing a range of social causes.\u003c/p>\n\u003cp>It established a philanthropic arm, the CAA Foundation led by the agency’s Chief Innovation Officer Michelle Kydd Lee, and the foundation helped kick start a multi-million dollar Time’s Up legal defense fund to benefit less privileged women outside the entertainment industry who’ve been sexually assaulted and harassed.\u003c/p>\n\u003cp>But Masters says CAA and the two PR firms involved in the effort may also have other motivations; the bottom-line for one. The sex abuse cases roiling Hollywood are bad for businesses.\u003c/p>\n\u003cp>“I think CAA felt quite vulnerable because of that and they wanted to somewhat wrap themselves around the #MeToo\u003cem> \u003c/em>movement,\" Masters said. \"And I think the other (talent) agencies look at them kind of with a little bit of an eye roll and say; ‘really CAA? Are you really so up in this cause, or is this a business proposition at the same time’?\u003c/p>\n\u003cp>When Harvey Weinstein was \u003ca href=\"http://www.slate.com/blogs/xx_factor/2017/10/10/harvey_weinstein_confessed_to_groping_model_in_cringe_worthy_audio_recording.html\" target=\"_blank\" rel=\"noopener\">accused of sexually assaulting an Italian model\u003c/a> in New York a few years ago, he \u003ca href=\"https://bigleaguepolitics.com/top-cuomo-adviser-helped-harvey-weinstein-beat-sexual-assault-case/\" target=\"_blank\" rel=\"noopener\">recruited Ken Sunshine\u003c/a> as a kind of crisis spokesperson.\u003c/p>\n\u003cfigure id=\"attachment_11653239\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11653239\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/K-SUNSHINE-2013-800x555.jpg\" alt=\"\" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-1020x707.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-1180x818.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-240x166.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ken Sunshine (R) attends Center for Reproductive Rights: Unite Tonight New York on September 25, 2013 in New York City. \u003ccite>((Photo by Monica Schipper/Getty Images for Center for Reproductive Rights))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunshine, a powerful show businesses publicist who’s also represented Barbara Streisand, Ben Affleck and the Michael Jackson estate, was later accused of launching a media smear campaign against the woman, a charge he’s denied.\u003c/p>\n\u003cp>But in 2015 Sunshine \u003ca href=\"https://www.nytimes.com/2015/06/23/business/media/a-pr-firm-alters-the-wiki-reality-of-its-star-clients.html\" target=\"_blank\" rel=\"noopener\">admitted that his firm had purposely edited clients Wikipedia pages\u003c/a> to remove what it saw as negative content. A couple of executives from Sunshine’s PR firm, Sunshine-Sachs are now helping coordinate Time’s Up efforts.\u003c/p>\n\u003cp>One of those executive agreed to talk, but she too did not want to be quoted directly. She said the firms involved prefer to put the focus on the celebrities and activists who’ve now become the public face of Time’s Up.\u003c/p>\n\u003cp>Many of the women involved in the Time’s Up campaign, including some female executives, have also publicly divulged their own personal stories of workplace misogyny, harassment and assault.\u003c/p>\n\u003cp>“You know it’s difficult to get to the top if you’re a women in Hollywood, I’m sure they’ve been affected too,” said British born actress Sabra Williams. She was a longtime fixture of actor-director Tim Robin’s theater group \u003ca href=\"http://theactorsgang.com/\" target=\"_blank\" rel=\"noopener\">The Actor’s Gang\u003c/a> and spearheaded the organization’s \u003ca href=\"http://theactorsgang.com/prison-project/\" target=\"_blank\" rel=\"noopener\">Prison Project\u003c/a> acting program.\u003c/p>\n\u003cp>Williams is hopeful that the actresses and women executives behind Time’s Up will make a lasting difference in Hollywood.\u003c/p>\n\u003cp>“But the question is; are they making actual changes? Are the writer’s rooms reflective of our community,” Williams said. “Are the people who have had least access able to have access? And if they are taking those actions I don’t care if they believe (in the campaign) or not.”\u003c/p>\n\u003cp>Williams came to Hollywood about 15 years ago and she too has been mistreated.\u003c/p>\n\u003cp>“I haven’t been raped. But like, the everyday misogyny, the everyday racism. (Producers and agents) finding out that I am married and then never hearing from them again,” Williams said. “But no one ever thought about reporting because you knew you’d never be believed by anybody. So that has already changed. There is a chance you will now be taken seriously.”\u003c/p>\n\u003cfigure id=\"attachment_11653246\" class=\"wp-caption aligncenter\" style=\"max-width: 571px\">\u003cimg class=\"size-full wp-image-11653246\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/TimesUpLogo_WCopy.png\" alt=\"\" width=\"571\" height=\"234\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy.png 571w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-160x66.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-240x98.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-375x154.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-520x213.png 520w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Time's Up Now Legal Defense Fund logo \u003ccite>(Time's Up Now)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women are at least feeling more emboldened to speak out said The Hollywood Reporter’s Kim Masters. In the aftermath of the Harvey Weinstein scandal the newspaper was able to break stories about alleged sexual \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseters-pattern-alleged-misconduct-detailed-by-disney-pixar-insiders-1059594\" target=\"_blank\" rel=\"noopener\">harassment by John Lasseter\u003c/a> the chief executive of animation for Disney and Pixar studios. And in a separate case; Amazon’s chief of programming \u003ca href=\"https://www.hollywoodreporter.com/features/amazon-studios-roy-price-inside-fall-a-top-executive-whats-next-1049859\" target=\"_blank\" rel=\"noopener\">Roy Price\u003c/a>.\u003c/p>\n\u003cp>After the stories hit Price resigned. Lasseter is on what’s being described as a 6-month “sabbatical”.\u003c/p>\n\u003cp>But two years ago when the Hollywood Reporter published an essay about Woody Allen’s alleged sexual abuse of his daughter, Dylan, \u003ca href=\"http://fortune.com/2016/05/12/thr-woody-allen-cannes-farrow/\" target=\"_blank\" rel=\"noopener\">the publication was barred\u003c/a> from an Allen press conference at the Cannes Film Festival.\u003c/p>\n\u003cp>Allen’s longtime publicist Leslee Dart told the paper that the ban was “only natural” after the paper went “out of its way to be harmful to my client.” Dart is co-founder of \u003ca href=\"http://42west.net/\" target=\"_blank\" rel=\"noopener\">42 West\u003c/a>, the other PR firm behind the Time's Up campaign.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think this is a moment that’s really (landed) not just in Hollywood,” Masters said. “There are just ripple effects from this. And that’s why I do hope that people will continue to find the courage to come forward.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 90th annual Oscars ceremony kicks off this Sunday. And, as Hollywood prepares for its closeup, there's no doubt going to be a bit of heartburn beneath the gowns and tuxedos of those hoping to put some distance between the industry and a cascade of sex abuse scandals.\u003c/p>\n\u003cp>This week the street artists \u003ca href=\"http://www.plasticjesus.net/\" target=\"_blank\" rel=\"noopener\">Plastic Jesus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=5GKidbBsnsc\" target=\"_blank\" rel=\"noopener\">Joshua “Ginger” Monroe\u003c/a> unveiled a life size sidewalk sculpture of a corpulent Harvey Weinstein lounging on a gold casting couch in a shall we say, skin- revealing bathrobe - all but daring passersby to slide in beside him.\u003c/p>\n\u003cfigure id=\"attachment_11653241\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11653241 size-medium\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/GettyImages-926038258-1-800x519.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-1020x661.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-1180x765.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-960x623.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-240x156.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-375x243.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/GettyImages-926038258-1-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman walks past a gold sculpture of Harvey Weinstein on his infamous casting couch holding an Oscar statue beside Elvis Presley's Walk of Fame Star in Hollywood, California on March 1, 2018, where artists Plastic Jesus and Joshua Monroe displayed their creation days before the 90th Oscars Awards on Sunday, March 4. \u003ccite>(FREDERIC J. BROWN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The piece was installed at the intersection of Hollywood Boulevard and La Brea Avenue, a 5-minute stroll from the Dolby Theatre where the awards ceremony will be held.\u003c/p>\n\u003cp>Actress \u003ca href=\"https://twitter.com/rosemcgowan?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Rose McGowan\u003c/a> was among the first to go public with allegations of sexual abuse by the movie mogul Weinstein. Many people in Hollywood knew of Weinstein’s behavior, but did not speak up. Some even protected him.\u003c/p>\n\u003cp>That’s why McGowan is openly questioning the sincerity of the \u003ca href=\"https://www.timesupnow.com/\" target=\"_blank\" rel=\"noopener\">Time’s Up Now \u003c/a>campaign when it’s endorsed by certain celebrities and industry executives .\u003c/p>\n\u003cfigure id=\"attachment_11653170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11653170\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-800x505.jpg\" alt=\"\" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-1020x644.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-1180x745.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-960x606.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-240x152.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-375x237.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan-520x328.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUp-Rose-McGowan.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Rose McGowan recently appeared on ABC’s The View to discuss her new memoir “Brave” and sexual misconduct in Hollywood. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is fake, I wish it weren’t, I wish everyone was good,\" McGowan said in an \u003ca href=\"https://www.youtube.com/watch?v=EW3KD4kqqug\" target=\"_blank\" rel=\"noopener\">appearance on the ABC daytime show “The View”\u003c/a> last month. \"I’m sorry to puncture your heroes. But sometimes these heroes need to be better.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She didn’t mince words about the \u003ca href=\"http://www.caa.com/\" target=\"_blank\" rel=\"noopener\">Creative Artists Agency \u003c/a>during that appearance either. CAA is one of the biggest talent managers in Hollywood. Name the box office star and there’s a good chance they are currently or have been a CAA client.\u003c/p>\n\u003cp>Some CAA agents are alleged to have known of Weinstein’s predatory ways but continued to steer young actresses in his direction for private, one-on-one meetings.\u003c/p>\n\u003cp>Now CAA is instrumental in helping organize the Time’s Up campaign through its philanthropic arm and a steering group of A-list actresses, agents and other public figures.\u003c/p>\n\u003cfigure id=\"attachment_11653179\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11653179\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-800x891.png\" alt=\"\" width=\"800\" height=\"891\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-800x891.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-160x178.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-1020x1136.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-1180x1314.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-960x1069.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-240x267.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-375x418.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TIMES-UP-LetterOfSolidarity-1-520x579.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A manifesto of sorts announced the creation of Time’s Up Now in January. \u003ccite>(Time's Up Now)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The intentions are good. But I know the people behind it you know,” McGowan said. “It’s four CAA agents who needed good PR, and I hope desperately that they help these women.”\u003c/p>\n\u003cp>The California Report reached out to CAA and eventually one of the executive involved in the Time’s Up effort agreed to talk as long as she wasn't quoted directly.\u003c/p>\n\u003cp>She said the small group of female CAA executives was inspired by the Me Too movement and wanted to use their clout and connections to create a mechanism where victims of sexual abuse and harassment can find support and justice. And they want to stop such misconduct in the future. And not just in Hollywood, but across a wide swath of industries, professions and institutions.\u003c/p>\n\u003cp>To that end CAA banded together with a core group of fellow female executives from two powerful Hollywood public relations firms, Sunshine Sachs and \u003ca href=\"http://42west.net/\" target=\"_blank\" rel=\"noopener\">42 West\u003c/a>, to help launch Time’s Up in January.\u003c/p>\n\u003cp>All three firms have also done businesses with Harvey Weinstein or his company at one time or another. And there were other clients whose names have surfaced as alleged abusers as well.\u003c/p>\n\u003cp>But as numerous people pointed out during interviews for this story, Hollywood is a pretty small ‘factory town.’ And the air is even more rarefied at the upper tiers of the business where one might find oneself representing, working for or with the likes of a Harvey Weinstein.\u003c/p>\n\u003cp>“Well in terms of real clout, it’s a small community and people pretty much know each other,” says Kim Masters, editor-at-large at \u003ca href=\"https://www.hollywoodreporter.com/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>. She’s reported on the film and TV industry for nearly 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11653256\" class=\"wp-caption alignright\" style=\"max-width: 219px\">\u003cimg class=\"size-full wp-image-11653256\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/times-up-KIM-MASTERS-1.jpg\" alt=\"\" width=\"219\" height=\"155\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/times-up-KIM-MASTERS-1.jpg 219w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/times-up-KIM-MASTERS-1-160x113.jpg 160w\" sizes=\"(max-width: 219px) 100vw, 219px\">\u003cfigcaption class=\"wp-caption-text\">The Hollywood Reporter's Kim Masters \u003ccite>(The Hollywood Reporter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of people were looking at CAA especially, because so many of the stars who were in Harvey Weinstein movies, were CAA clients,” Masters said. “There was a feeling that there was a pipeline between Harvey and CAA. I also think they know what good PR is, and this (Time’s Up) is good PR.”\u003c/p>\n\u003cp>CAA’s involvement with Time’s Up fits with the 43-year old company’s years-long tradition of philanthropy and championing a range of social causes.\u003c/p>\n\u003cp>It established a philanthropic arm, the CAA Foundation led by the agency’s Chief Innovation Officer Michelle Kydd Lee, and the foundation helped kick start a multi-million dollar Time’s Up legal defense fund to benefit less privileged women outside the entertainment industry who’ve been sexually assaulted and harassed.\u003c/p>\n\u003cp>But Masters says CAA and the two PR firms involved in the effort may also have other motivations; the bottom-line for one. The sex abuse cases roiling Hollywood are bad for businesses.\u003c/p>\n\u003cp>“I think CAA felt quite vulnerable because of that and they wanted to somewhat wrap themselves around the #MeToo\u003cem> \u003c/em>movement,\" Masters said. \"And I think the other (talent) agencies look at them kind of with a little bit of an eye roll and say; ‘really CAA? Are you really so up in this cause, or is this a business proposition at the same time’?\u003c/p>\n\u003cp>When Harvey Weinstein was \u003ca href=\"http://www.slate.com/blogs/xx_factor/2017/10/10/harvey_weinstein_confessed_to_groping_model_in_cringe_worthy_audio_recording.html\" target=\"_blank\" rel=\"noopener\">accused of sexually assaulting an Italian model\u003c/a> in New York a few years ago, he \u003ca href=\"https://bigleaguepolitics.com/top-cuomo-adviser-helped-harvey-weinstein-beat-sexual-assault-case/\" target=\"_blank\" rel=\"noopener\">recruited Ken Sunshine\u003c/a> as a kind of crisis spokesperson.\u003c/p>\n\u003cfigure id=\"attachment_11653239\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11653239\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/K-SUNSHINE-2013-800x555.jpg\" alt=\"\" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-1020x707.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-1180x818.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-240x166.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/K-SUNSHINE-2013-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ken Sunshine (R) attends Center for Reproductive Rights: Unite Tonight New York on September 25, 2013 in New York City. \u003ccite>((Photo by Monica Schipper/Getty Images for Center for Reproductive Rights))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunshine, a powerful show businesses publicist who’s also represented Barbara Streisand, Ben Affleck and the Michael Jackson estate, was later accused of launching a media smear campaign against the woman, a charge he’s denied.\u003c/p>\n\u003cp>But in 2015 Sunshine \u003ca href=\"https://www.nytimes.com/2015/06/23/business/media/a-pr-firm-alters-the-wiki-reality-of-its-star-clients.html\" target=\"_blank\" rel=\"noopener\">admitted that his firm had purposely edited clients Wikipedia pages\u003c/a> to remove what it saw as negative content. A couple of executives from Sunshine’s PR firm, Sunshine-Sachs are now helping coordinate Time’s Up efforts.\u003c/p>\n\u003cp>One of those executive agreed to talk, but she too did not want to be quoted directly. She said the firms involved prefer to put the focus on the celebrities and activists who’ve now become the public face of Time’s Up.\u003c/p>\n\u003cp>Many of the women involved in the Time’s Up campaign, including some female executives, have also publicly divulged their own personal stories of workplace misogyny, harassment and assault.\u003c/p>\n\u003cp>“You know it’s difficult to get to the top if you’re a women in Hollywood, I’m sure they’ve been affected too,” said British born actress Sabra Williams. She was a longtime fixture of actor-director Tim Robin’s theater group \u003ca href=\"http://theactorsgang.com/\" target=\"_blank\" rel=\"noopener\">The Actor’s Gang\u003c/a> and spearheaded the organization’s \u003ca href=\"http://theactorsgang.com/prison-project/\" target=\"_blank\" rel=\"noopener\">Prison Project\u003c/a> acting program.\u003c/p>\n\u003cp>Williams is hopeful that the actresses and women executives behind Time’s Up will make a lasting difference in Hollywood.\u003c/p>\n\u003cp>“But the question is; are they making actual changes? Are the writer’s rooms reflective of our community,” Williams said. “Are the people who have had least access able to have access? And if they are taking those actions I don’t care if they believe (in the campaign) or not.”\u003c/p>\n\u003cp>Williams came to Hollywood about 15 years ago and she too has been mistreated.\u003c/p>\n\u003cp>“I haven’t been raped. But like, the everyday misogyny, the everyday racism. (Producers and agents) finding out that I am married and then never hearing from them again,” Williams said. “But no one ever thought about reporting because you knew you’d never be believed by anybody. So that has already changed. There is a chance you will now be taken seriously.”\u003c/p>\n\u003cfigure id=\"attachment_11653246\" class=\"wp-caption aligncenter\" style=\"max-width: 571px\">\u003cimg class=\"size-full wp-image-11653246\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/TimesUpLogo_WCopy.png\" alt=\"\" width=\"571\" height=\"234\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy.png 571w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-160x66.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-240x98.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-375x154.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/TimesUpLogo_WCopy-520x213.png 520w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Time's Up Now Legal Defense Fund logo \u003ccite>(Time's Up Now)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women are at least feeling more emboldened to speak out said The Hollywood Reporter’s Kim Masters. In the aftermath of the Harvey Weinstein scandal the newspaper was able to break stories about alleged sexual \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseters-pattern-alleged-misconduct-detailed-by-disney-pixar-insiders-1059594\" target=\"_blank\" rel=\"noopener\">harassment by John Lasseter\u003c/a> the chief executive of animation for Disney and Pixar studios. And in a separate case; Amazon’s chief of programming \u003ca href=\"https://www.hollywoodreporter.com/features/amazon-studios-roy-price-inside-fall-a-top-executive-whats-next-1049859\" target=\"_blank\" rel=\"noopener\">Roy Price\u003c/a>.\u003c/p>\n\u003cp>After the stories hit Price resigned. Lasseter is on what’s being described as a 6-month “sabbatical”.\u003c/p>\n\u003cp>But two years ago when the Hollywood Reporter published an essay about Woody Allen’s alleged sexual abuse of his daughter, Dylan, \u003ca href=\"http://fortune.com/2016/05/12/thr-woody-allen-cannes-farrow/\" target=\"_blank\" rel=\"noopener\">the publication was barred\u003c/a> from an Allen press conference at the Cannes Film Festival.\u003c/p>\n\u003cp>Allen’s longtime publicist Leslee Dart told the paper that the ban was “only natural” after the paper went “out of its way to be harmful to my client.” Dart is co-founder of \u003ca href=\"http://42west.net/\" target=\"_blank\" rel=\"noopener\">42 West\u003c/a>, the other PR firm behind the Time's Up campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think this is a moment that’s really (landed) not just in Hollywood,” Masters said. “There are just ripple effects from this. And that’s why I do hope that people will continue to find the courage to come forward.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Golden Globe Awards, a mix of TV, movies and fun, takes place tonight. And the Bay Area will be well-represented.\u003c/p>\n\u003cp>If Oakland’s own Tom Hanks is in a movie, he’s likely at the awards shows as well. That’ll be the case this year with his nomination for Best Performance by an Actor in a Motion Picture Drama for his role as newspaper heavy-hitter Ben Bradlee in “The Post.” \u003c/p>\n\u003cp>Meanwhile, in the Best Actress category, Sacramento is showing off its native child Jessica Chastain, who is up for her gritty portrayal in “Molly’s Game.” But, the Bay Area can also claim Chastain as their own since she developed early acting chops at \u003ca href=\"https://theatreworks.org/\" rel=\"noopener\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Speaking of Silicon Valley, James Franco, the Palo Alto kid who started performing on the stage at Palo Alto High School is recognized this year in multiple categories. He earned a nomination for Best Actor in a Comedy or Musical for his lead role in “The Disaster Artist,” a film he also produced and directed. The film is also nominated for Best Motion Picture Comedy or Musical. [contextly_sidebar id=”AGtRObXvKGShnBKARHptzSGjrriPkADW”]\u003c/p>\n\u003cp>Franco is still seen down at Palo Alto High School, known locally as “Paly,” now and again. In the last few years he’s painted around the campus as well taught some film classes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daly City gets a nod with a supporting actor nomination going to their own Sam Rockwell for his role in “Three Billboards Outside Ebbing, Missouri.”\u003c/p>\n\u003cp>Never rule Emeryville’s Pixar out. They pulled in a nomination for Best Animated Film with their last feature “Coco.” The movie earned another nomination with the song “Remember Me,” which just happened to be performed by San Francisco native Benjamin Bratt.\u003c/p>\n\u003cp>When it comes to TV, Stanford’s alum Issa Rae ’07 is nominated for Best Actress in a Comedy or Musical for her show “Insecure.” Fellow alum Sterling K. Brown ‘98, from “This is Us,” is nominated for Best Actor in a Drama. He will be up against another San Francisco native – Liev Schreiber for his role as Ray Donovan in the show of the same name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And think how much other talent from the Bay Area has made an impact on the films of 2017. Not bad.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Golden Globe Awards, a mix of TV, movies and fun, takes place tonight. And the Bay Area will be well-represented.\u003c/p>\n\u003cp>If Oakland’s own Tom Hanks is in a movie, he’s likely at the awards shows as well. That’ll be the case this year with his nomination for Best Performance by an Actor in a Motion Picture Drama for his role as newspaper heavy-hitter Ben Bradlee in “The Post.” \u003c/p>\n\u003cp>Meanwhile, in the Best Actress category, Sacramento is showing off its native child Jessica Chastain, who is up for her gritty portrayal in “Molly’s Game.” But, the Bay Area can also claim Chastain as their own since she developed early acting chops at \u003ca href=\"https://theatreworks.org/\" rel=\"noopener\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Speaking of Silicon Valley, James Franco, the Palo Alto kid who started performing on the stage at Palo Alto High School is recognized this year in multiple categories. He earned a nomination for Best Actor in a Comedy or Musical for his lead role in “The Disaster Artist,” a film he also produced and directed. The film is also nominated for Best Motion Picture Comedy or Musical. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Franco is still seen down at Palo Alto High School, known locally as “Paly,” now and again. In the last few years he’s painted around the campus as well taught some film classes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daly City gets a nod with a supporting actor nomination going to their own Sam Rockwell for his role in “Three Billboards Outside Ebbing, Missouri.”\u003c/p>\n\u003cp>Never rule Emeryville’s Pixar out. They pulled in a nomination for Best Animated Film with their last feature “Coco.” The movie earned another nomination with the song “Remember Me,” which just happened to be performed by San Francisco native Benjamin Bratt.\u003c/p>\n\u003cp>When it comes to TV, Stanford’s alum Issa Rae ’07 is nominated for Best Actress in a Comedy or Musical for her show “Insecure.” Fellow alum Sterling K. Brown ‘98, from “This is Us,” is nominated for Best Actor in a Drama. He will be up against another San Francisco native – Liev Schreiber for his role as Ray Donovan in the show of the same name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And think how much other talent from the Bay Area has made an impact on the films of 2017. Not bad.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oscar season is looking more and more like one very well-dressed protest against President Donald Trump.\u003c/p>\n\u003cp>In speech after fiery speech at Sunday night’s Screen Actors Guild Awards, winners struck a defiant tone against Trump’s sweeping immigration ban. Their words varied from tender personal reflections to full-throated battle cries, but they were nearly uniform in channeling the nationwide demonstrations sparked by Trump’s halting of immigrants from seven predominantly Muslim nations.\u003c/p>\n\u003cp>The SAG Awards culminated with the evening’s top honor, best movie ensemble, going to the cast of “Hidden Figures,” an uplifting drama about African-American mathematicians who aided NASA’s 1960s space race, starring Taraji P. Henson, Janelle Monae and Octavia Spencer. Henson concluded the show the same way its first presenter, Ashton Kutcher, began it: with the kind of pointed politics that have traditionally been more an aberration than a constant at Hollywood award shows.\u003c/p>\n\u003cp>“This story is about unity,” said Henson. ”This story is about what happens when we put our differences aside and we come together as a human race. We win. Love wins. Every time.”\u003c/p>\n\u003cp>It was a surprise win for “Hidden Figures.” With the Oscar front-runner “La La Land” (which took the Producers Guild Awards’ top honor on Saturday) not nominated in the category, most expected a contest between “Moonlight” or “Manchester by the Sea.” Such a result could now mean “Hidden Figures” is the strongest challenger to the “La La Land” dominance, or, perhaps, that none of the three films will be able to muster enough to topple the song-and-dance juggernaut.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet if Damien Chazelle’s musical is to go on to win best picture, it will be just the second film to do so without a SAG ensemble nod in the category’s history. Only Mel Gibson’s “Braveheart” managed it in 1996.\u003c/p>\n\u003cp>But such Oscar handicapping — usually the prime drama at the SAG Awards — largely took a back seat to politics on Sunday. (That is, with the possible exception of Denzel Washington’s surprise win over Casey Affleck.) Whichever film ultimately triumphs at the Oscars, it seems assured of being dwarfed by the growing off-screen clamor.\u003c/p>\n\u003cp>The immigration ban has already altered the Academy Awards. On Sunday, the revered Iranian filmmaker Asghar Farhadi, whose “A Salesman” is nominated for best foreign language film, said he would boycott the Oscars, even if he were allowed to travel for them.\u003c/p>\n\u003cp>Julia Louis-Dreyfus, who added another honor for her performance on the political satire “Veep,” said she was the daughter of an immigrant who fled religious persecution in Nazi-occupied France.\u003c/p>\n\u003cp>“Because I love this country, I am horrified by its blemishes,” said Louis-Dreyfus. “And this immigrant ban is a blemish and it is un-American.”\u003c/p>\n\u003cp>Perhaps the most moving speech came from Mahershala Ali, who won best supporting actor for his acclaimed performance in Barry Jenkins’ coming-of-age portrait, “Moonlight.” Ali said the film, about a shy, gay Miami boy’s hard life, held lessons of acceptance. “We see what happens when you persecute people,” Ali said. “They fold into themselves.”\u003c/p>\n\u003cp>Ali said his own relationship with his mother exemplified tolerance. The son of a Protestant minister, Ali converted to Islam 17 years ago.\u003c/p>\n\u003cp>“We put things to the side,” Ali said of their differences. “I’m able to see her. She’s able to see me. We love each other. The love has grown. That stuff is minutia. It’s not that important.”\u003c/p>\n\u003cp>Ali was among the several Oscar favorites who cemented their front-runner status, including best actress winner Emma Stone for “La La Land” and best supporting actress winner Viola Davis for “Fences.” But best actor went to Davis’ co-star (and director) Washington for his performance in the August Wilson adaptation. Most expected the award to go to Affleck, apparently including Washington himself.\u003c/p>\n\u003cp>“I’m a God-fearing man,” he said, still shaking his head as he reached the podium. “I’m supposed to have faith, but I didn’t have faith.”\u003c/p>\n\u003cp>The most blistering speech was by David Harbour, who led the cast of Netflix’s “Stranger Things” — another big surprise winner — on stage to accept best ensemble in a TV drama series. “We will hunt monsters,” Harbour vowed in lengthy remarks that drew a standing ovation.\u003c/p>\n\u003cp>The hit Netflix series “Orange Is the New Black” won best ensemble in a comedy series for the third straight year.\u003c/p>\n\u003cp>“We stand up here representing a diverse group of people, representing generations of families who have sought a better life here from places like Nigeria, the Dominican Republic, Puerto Rico, Colombia, Ireland,” said star Taylor Schilling, while a cast member added “Brooklyn!” ”And we know that it’s going to be up to us and all you, probably, to keep telling stories that show what unites us is stronger than the forces that divide us.”\u003c/p>\n\u003cp>Lily Tomlin was the lifetime achievement honoree Sunday. The 77-year-old actress gave a warm, rollicking speech that dispensed both drinking advice and regret over wasting “a lot of time being ambitious about the wrong things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Did you hear? The Doomsday Clock has been moved up to 2½ minutes before midnight,” said Tomlin. “And this award, it came just in the nick of time.”\u003c/p>\n\u003cdiv class=\"prose-body\">\n\u003ch2>Awards list\u003c/h2>\n\u003ch3 id=\"movies\">MOVIES\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Actor:\u003c/strong> Denzel Washington, “Fences”\u003c/li>\n\u003cli>\u003cstrong>Actress:\u003c/strong> Emma Stone, “La La Land”\u003c/li>\n\u003cli>\u003cstrong>Supporting actor:\u003c/strong> Mahershala Ali, “Moonlight”\u003c/li>\n\u003cli>\u003cstrong>Supporting actress:\u003c/strong> Viola Davis, “Fences”\u003c/li>\n\u003cli>\u003cstrong>Cast:\u003c/strong> “Hidden Figures”\u003c/li>\n\u003cli>\u003cstrong>Stunt ensemble:\u003c/strong> “Hacksaw Ridge”\u003c/li>\n\u003c/ul>\n\u003ch3 id=\"television\">TELEVISION\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Actor in a comedy series:\u003c/strong> William H. Macy, “Shameless”\u003c/li>\n\u003cli>\u003cstrong>Actress in a comedy series:\u003c/strong> Julia Louis-Dreyfus, “Veep”\u003c/li>\n\u003cli>\u003cstrong>Comedy series cast:\u003c/strong> “Orange is the New Black”\u003c/li>\n\u003cli>\u003cstrong>Actor in a movie or miniseries:\u003c/strong> Bryan Cranston, “All the Way”\u003c/li>\n\u003cli>\u003cstrong>Actress in a movie or miniseries:\u003c/strong> Sarah Paulson, “The People V. O.J. Simpson: American Crime Story”\u003c/li>\n\u003cli>\u003cstrong>Drama series cast:\u003c/strong> “Stranger Things”\u003c/li>\n\u003cli>\u003cstrong>Actor in a drama series:\u003c/strong> John Lithgow, “The Crown”\u003c/li>\n\u003cli>\u003cstrong>Actress in a drama series:\u003c/strong> Claire Foy, “The Crown”\u003c/li>\n\u003cli>\u003cstrong>Stunt ensemble:\u003c/strong> “Game of Thrones”\u003c/li>\n\u003c/ul>\n\u003ch3>LIFE ACHIEVEMENT\u003c/h3>\n\u003cp>\u003cstrong>Lily Tomlin\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Sandy Cohen in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv id=\"appeal-donate-cta\" class=\"appeal-newsletter donate-cta ancillary\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oscar season is looking more and more like one very well-dressed protest against President Donald Trump.\u003c/p>\n\u003cp>In speech after fiery speech at Sunday night’s Screen Actors Guild Awards, winners struck a defiant tone against Trump’s sweeping immigration ban. Their words varied from tender personal reflections to full-throated battle cries, but they were nearly uniform in channeling the nationwide demonstrations sparked by Trump’s halting of immigrants from seven predominantly Muslim nations.\u003c/p>\n\u003cp>The SAG Awards culminated with the evening’s top honor, best movie ensemble, going to the cast of “Hidden Figures,” an uplifting drama about African-American mathematicians who aided NASA’s 1960s space race, starring Taraji P. Henson, Janelle Monae and Octavia Spencer. Henson concluded the show the same way its first presenter, Ashton Kutcher, began it: with the kind of pointed politics that have traditionally been more an aberration than a constant at Hollywood award shows.\u003c/p>\n\u003cp>“This story is about unity,” said Henson. ”This story is about what happens when we put our differences aside and we come together as a human race. We win. Love wins. Every time.”\u003c/p>\n\u003cp>It was a surprise win for “Hidden Figures.” With the Oscar front-runner “La La Land” (which took the Producers Guild Awards’ top honor on Saturday) not nominated in the category, most expected a contest between “Moonlight” or “Manchester by the Sea.” Such a result could now mean “Hidden Figures” is the strongest challenger to the “La La Land” dominance, or, perhaps, that none of the three films will be able to muster enough to topple the song-and-dance juggernaut.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet if Damien Chazelle’s musical is to go on to win best picture, it will be just the second film to do so without a SAG ensemble nod in the category’s history. Only Mel Gibson’s “Braveheart” managed it in 1996.\u003c/p>\n\u003cp>But such Oscar handicapping — usually the prime drama at the SAG Awards — largely took a back seat to politics on Sunday. (That is, with the possible exception of Denzel Washington’s surprise win over Casey Affleck.) Whichever film ultimately triumphs at the Oscars, it seems assured of being dwarfed by the growing off-screen clamor.\u003c/p>\n\u003cp>The immigration ban has already altered the Academy Awards. On Sunday, the revered Iranian filmmaker Asghar Farhadi, whose “A Salesman” is nominated for best foreign language film, said he would boycott the Oscars, even if he were allowed to travel for them.\u003c/p>\n\u003cp>Julia Louis-Dreyfus, who added another honor for her performance on the political satire “Veep,” said she was the daughter of an immigrant who fled religious persecution in Nazi-occupied France.\u003c/p>\n\u003cp>“Because I love this country, I am horrified by its blemishes,” said Louis-Dreyfus. “And this immigrant ban is a blemish and it is un-American.”\u003c/p>\n\u003cp>Perhaps the most moving speech came from Mahershala Ali, who won best supporting actor for his acclaimed performance in Barry Jenkins’ coming-of-age portrait, “Moonlight.” Ali said the film, about a shy, gay Miami boy’s hard life, held lessons of acceptance. “We see what happens when you persecute people,” Ali said. “They fold into themselves.”\u003c/p>\n\u003cp>Ali said his own relationship with his mother exemplified tolerance. The son of a Protestant minister, Ali converted to Islam 17 years ago.\u003c/p>\n\u003cp>“We put things to the side,” Ali said of their differences. “I’m able to see her. She’s able to see me. We love each other. The love has grown. That stuff is minutia. It’s not that important.”\u003c/p>\n\u003cp>Ali was among the several Oscar favorites who cemented their front-runner status, including best actress winner Emma Stone for “La La Land” and best supporting actress winner Viola Davis for “Fences.” But best actor went to Davis’ co-star (and director) Washington for his performance in the August Wilson adaptation. Most expected the award to go to Affleck, apparently including Washington himself.\u003c/p>\n\u003cp>“I’m a God-fearing man,” he said, still shaking his head as he reached the podium. “I’m supposed to have faith, but I didn’t have faith.”\u003c/p>\n\u003cp>The most blistering speech was by David Harbour, who led the cast of Netflix’s “Stranger Things” — another big surprise winner — on stage to accept best ensemble in a TV drama series. “We will hunt monsters,” Harbour vowed in lengthy remarks that drew a standing ovation.\u003c/p>\n\u003cp>The hit Netflix series “Orange Is the New Black” won best ensemble in a comedy series for the third straight year.\u003c/p>\n\u003cp>“We stand up here representing a diverse group of people, representing generations of families who have sought a better life here from places like Nigeria, the Dominican Republic, Puerto Rico, Colombia, Ireland,” said star Taylor Schilling, while a cast member added “Brooklyn!” ”And we know that it’s going to be up to us and all you, probably, to keep telling stories that show what unites us is stronger than the forces that divide us.”\u003c/p>\n\u003cp>Lily Tomlin was the lifetime achievement honoree Sunday. The 77-year-old actress gave a warm, rollicking speech that dispensed both drinking advice and regret over wasting “a lot of time being ambitious about the wrong things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Did you hear? The Doomsday Clock has been moved up to 2½ minutes before midnight,” said Tomlin. “And this award, it came just in the nick of time.”\u003c/p>\n\u003cdiv class=\"prose-body\">\n\u003ch2>Awards list\u003c/h2>\n\u003ch3 id=\"movies\">MOVIES\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Actor:\u003c/strong> Denzel Washington, “Fences”\u003c/li>\n\u003cli>\u003cstrong>Actress:\u003c/strong> Emma Stone, “La La Land”\u003c/li>\n\u003cli>\u003cstrong>Supporting actor:\u003c/strong> Mahershala Ali, “Moonlight”\u003c/li>\n\u003cli>\u003cstrong>Supporting actress:\u003c/strong> Viola Davis, “Fences”\u003c/li>\n\u003cli>\u003cstrong>Cast:\u003c/strong> “Hidden Figures”\u003c/li>\n\u003cli>\u003cstrong>Stunt ensemble:\u003c/strong> “Hacksaw Ridge”\u003c/li>\n\u003c/ul>\n\u003ch3 id=\"television\">TELEVISION\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Actor in a comedy series:\u003c/strong> William H. Macy, “Shameless”\u003c/li>\n\u003cli>\u003cstrong>Actress in a comedy series:\u003c/strong> Julia Louis-Dreyfus, “Veep”\u003c/li>\n\u003cli>\u003cstrong>Comedy series cast:\u003c/strong> “Orange is the New Black”\u003c/li>\n\u003cli>\u003cstrong>Actor in a movie or miniseries:\u003c/strong> Bryan Cranston, “All the Way”\u003c/li>\n\u003cli>\u003cstrong>Actress in a movie or miniseries:\u003c/strong> Sarah Paulson, “The People V. O.J. Simpson: American Crime Story”\u003c/li>\n\u003cli>\u003cstrong>Drama series cast:\u003c/strong> “Stranger Things”\u003c/li>\n\u003cli>\u003cstrong>Actor in a drama series:\u003c/strong> John Lithgow, “The Crown”\u003c/li>\n\u003cli>\u003cstrong>Actress in a drama series:\u003c/strong> Claire Foy, “The Crown”\u003c/li>\n\u003cli>\u003cstrong>Stunt ensemble:\u003c/strong> “Game of Thrones”\u003c/li>\n\u003c/ul>\n\u003ch3>LIFE ACHIEVEMENT\u003c/h3>\n\u003cp>\u003cstrong>Lily Tomlin\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Sandy Cohen in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv id=\"appeal-donate-cta\" class=\"appeal-newsletter donate-cta ancillary\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pixar's New App Gives the Blind a New Way to Experience Movies",
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"content": "\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can't even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your phone with a narration track. Interspersed between segments of dialogue, it describes what’s happening on-screen -- characters, action, costumes -- through your headphones.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/243324744\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Last month, Pixar \u003ca href=\"https://www.flickr.com/photos/guidedogsfortheblind/sets/72157662146678371/\" target=\"_blank\">threw a party\u003c/a> at their Emeryville headquarters to test out the new app, in collaboration with Bay Area non-profits like LightHouse for the Blind, the Blind Babies Foundation and Guide Dogs. Complete with an expansive red carpet, the event was a Gatsby-like dazzle of light and noise, flashing cameras and a whole fleet of seeing-eye dogs. The evening culminated in a screening of \"The Good Dinosaur.\"\u003c/p>\n\u003cp>There are definitely some kinks to be worked out. A large portion of the audience -- sighted and non-sighted alike -- had trouble downloading it onto their phones. But thanks to a few Pixar employees, looking only mildly nervous, everyone soon had it working. Lisamaria Martinez, the director of community services at the LightHouse for the Blind, explained that it offered great improvements over current visual aids.\u003c/p>\n\u003cfigure id=\"attachment_10841766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg\" alt='Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters.' width=\"800\" height=\"503\" class=\"size-medium wp-image-10841766\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-768x482.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1440x905.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters. \u003ccite>(Guide Dogs for the Blind/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Often I'm handed the handset for the hard of hearing,” she said. “Then I have to rely on the fact that they've charged the device...and that they've turned on the audio-description tracks. A lot of times they don't and I have to go look for someone...and I've lost the first 15 minutes of the movie.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Going to movies with her four-year-old is particularly discouraging.\u003c/p>\n\u003cp>\"My kid’s a pretty smart kid, and he asks lots of questions: Mommy, what was that? How do I explain something that needs explaining when I don't even know it happened?\"\u003c/p>\n\u003cp>As the film began and animated talking dinosaurs galloped across the screen, the theater filled with laughter. Many folks who had never fully followed a film before suddenly knew what was happening. Read in an almost comical monotone, the female narration track was concise and dry -- a bit like IKEA instructions. Here's an example: “A bush rustled nearby. Arlo hides. A fully-grown chicken-like dinosaur with red eyes looms over them.\"\u003c/p>\n\u003cp>Yet no one seemed to mind the hollow voice, and when the lights came up, the applause was raucous. Ms. Martinez was excited by how thorough the narration was. \u003c/p>\n\u003cp>\"During the movie,” she explained, “I realized that it had dialogue, [but] not nearly as much as other movies. If that wasn’t there, I’d be so lost. Being able to have accessibility in my own power, it’s empowering to me.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For much of the audience, Pixar's new app offers much more than a chance to merely follow along. It offers the possibility of a drastic change -- that a group of people who have long been left out of a full movie experience can finally feel included.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can't even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your phone with a narration track. Interspersed between segments of dialogue, it describes what’s happening on-screen -- characters, action, costumes -- through your headphones.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/243324744&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/243324744'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last month, Pixar \u003ca href=\"https://www.flickr.com/photos/guidedogsfortheblind/sets/72157662146678371/\" target=\"_blank\">threw a party\u003c/a> at their Emeryville headquarters to test out the new app, in collaboration with Bay Area non-profits like LightHouse for the Blind, the Blind Babies Foundation and Guide Dogs. Complete with an expansive red carpet, the event was a Gatsby-like dazzle of light and noise, flashing cameras and a whole fleet of seeing-eye dogs. The evening culminated in a screening of \"The Good Dinosaur.\"\u003c/p>\n\u003cp>There are definitely some kinks to be worked out. A large portion of the audience -- sighted and non-sighted alike -- had trouble downloading it onto their phones. But thanks to a few Pixar employees, looking only mildly nervous, everyone soon had it working. Lisamaria Martinez, the director of community services at the LightHouse for the Blind, explained that it offered great improvements over current visual aids.\u003c/p>\n\u003cfigure id=\"attachment_10841766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg\" alt='Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters.' width=\"800\" height=\"503\" class=\"size-medium wp-image-10841766\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-768x482.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1440x905.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters. \u003ccite>(Guide Dogs for the Blind/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Often I'm handed the handset for the hard of hearing,” she said. “Then I have to rely on the fact that they've charged the device...and that they've turned on the audio-description tracks. A lot of times they don't and I have to go look for someone...and I've lost the first 15 minutes of the movie.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Going to movies with her four-year-old is particularly discouraging.\u003c/p>\n\u003cp>\"My kid’s a pretty smart kid, and he asks lots of questions: Mommy, what was that? How do I explain something that needs explaining when I don't even know it happened?\"\u003c/p>\n\u003cp>As the film began and animated talking dinosaurs galloped across the screen, the theater filled with laughter. Many folks who had never fully followed a film before suddenly knew what was happening. Read in an almost comical monotone, the female narration track was concise and dry -- a bit like IKEA instructions. Here's an example: “A bush rustled nearby. Arlo hides. A fully-grown chicken-like dinosaur with red eyes looms over them.\"\u003c/p>\n\u003cp>Yet no one seemed to mind the hollow voice, and when the lights came up, the applause was raucous. Ms. Martinez was excited by how thorough the narration was. \u003c/p>\n\u003cp>\"During the movie,” she explained, “I realized that it had dialogue, [but] not nearly as much as other movies. If that wasn’t there, I’d be so lost. Being able to have accessibility in my own power, it’s empowering to me.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For much of the audience, Pixar's new app offers much more than a chance to merely follow along. It offers the possibility of a drastic change -- that a group of people who have long been left out of a full movie experience can finally feel included.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"title": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014039\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/209014039&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209014039'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Our \"My Spot\" series shares personal experiences with special places in California\u003c/em>\u003c/p>\n\u003cp>Avery Trufelman knows movies. In high school, she would watch a film at the end of every day. In college, she worked as a projectionist.\u003c/p>\n\u003cp>So when Avery walked into Oakland's New Parkway Theater, \"I just felt so at home. It feels like you're going into a friend's living room.\"\u003c/p>\n\u003cp>That's because the theater is designed like an actual living room, replete with comfy couches and an adjacent kitchen.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/171957449\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"The food is really good, too,\" Trufelman says. \"The cool thing is, you can sit in the theater and order something from your seat and they'll deliver it to you.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The theater is the successor to the original Parkway Theater on Parkway Boulevard, which closed in 2009.\u003c/p>\n\u003cp>The New Parkway, located in Oakland's Uptown neighborhood, opened in 2012. Trufelman says the New Parkway may look like an art house theater, but it has something for everyone.\u003c/p>\n\u003cp>\"They certainly show some independent documentaries, but they also show things that you would see at any other big normal theater,\" the Berkeley-based radio producer says. \"It's kind of funny tucked away in this alley, this kind of artsy looking building.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Avery Trufelman was interviewed by Christina Matamoros.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Our \"My Spot\" series shares personal experiences with special places in California\u003c/em>\u003c/p>\n\u003cp>Avery Trufelman knows movies. In high school, she would watch a film at the end of every day. In college, she worked as a projectionist.\u003c/p>\n\u003cp>So when Avery walked into Oakland's New Parkway Theater, \"I just felt so at home. It feels like you're going into a friend's living room.\"\u003c/p>\n\u003cp>That's because the theater is designed like an actual living room, replete with comfy couches and an adjacent kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/171957449&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/171957449'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"The food is really good, too,\" Trufelman says. \"The cool thing is, you can sit in the theater and order something from your seat and they'll deliver it to you.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"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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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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",
"subscribe": {
"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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}
},
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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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"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"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",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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