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"content": "\u003cp>Shoddy bolts, bad welds, dangerous rust, frayed cables. With \u003cem>even more\u003c/em> reports of problems on the new eastern span of the Bay Bridge, we — like everyone in the Bay Area — are suffering from bad news fatigue.\u003c/p>\n\u003cp>We thought we’d remedy this by basking in the glory of the old San Francisco-Oakland Bay Bridge, relived through decades of Hollywood movies.\u003c/p>\n\u003cp>When the Bay Bridge opened to the public in November 1936, it was seen as a technological marvel, an engineering feat that exemplified mankind’s ability. Since then, the bridge has made numerous notable film appearances over the years.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 97857852 w=640 h=360]\u003c/aside>\n\u003cp>Unsurprisingly, all the clips we scrounged up show the still-functioning, towered suspension span of the bridge west of Yerba Buena Island, overlooking the more modest beauty of the cantilevered eastern stretch that is disappearing piece-by-piece in front of our eyes.\u003c/p>\n\u003cp>With sometimes glaring anachronistic errors, relive the 75-year history of the Bay Bridge in stunning Technicolor (and less-stunning black and white).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0034172/\" target=\"_blank\">\"Shadow of the Thin Man\"\u003c/a>\u003c/strong> (1941) (0:00-1:15) (\u003ca href=\"https://www.youtube.com/watch?v=T6cvDVgz_OE\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138711\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\">\u003cimg class=\"size-full wp-image-138711\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\" alt=\"\" width=\"640\" height=\"482\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Shadow of the Thin Man\" (1941), directed by W.S. Van Dyke.\u003c/figcaption>\u003c/figure>\n\u003cp>Myrna Loy and the mustachioed William Powell are pulled over for speeding on the upper deck of the bridge. The outdoor scene on the bridge, with Coit Tower and Telegraph Hill visible in the background, includes an impressive tracking shot amid three lanes of traffic. In what will become a bit of a trend, the plot has the two characters traveling eastbound (the next shots include the MacArthur Maze and later, Golden Gate Fields) despite heading west toward the city. \u003cem>(*the clip has been edited from the original).\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0037366/?ref_=nv_sr_1\" target=\"_blank\">\"Thirty Seconds Over Tokyo\"\u003c/a>\u003c/strong> (1944) (\u003ca href=\"https://www.youtube.com/watch?v=eaLgSlbS1lk\" target=\"_blank\">1:15-2:05\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138713\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\">\u003cimg class=\"size-full wp-image-138713\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\" alt=\"\" width=\"640\" height=\"468\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Thirty Seconds Over Tokyo\" (1944), directed by Mervyn LeRoy.\u003c/figcaption>\u003c/figure>\n\u003cp>It's easy to forget the still-new \"superstructure\" was still awe-inspiring nearly 10 years after it was completed. Also impressive, the terrific shot of a B-25 bomber flying under the Bay Bridge. Such shots led to the film, starring Spencer Tracy as Lt. Col. James Doolittle of \"Doolittle Raid\" fame, winning an Oscar for Best Special Effects.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0061722/?ref_=fn_al_tt_1\" target=\"_blank\">\"The Graduate\"\u003c/a>\u003c/strong> (1967) (2:04-2:40)(\u003ca href=\"https://www.youtube.com/watch?v=hsdvhJTqLak\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138718\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\">\u003cimg class=\"size-full wp-image-138718\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\" alt=\"\" width=\"640\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"The Graduate\" (1967), directed by Mike Nichols.\u003c/figcaption>\u003c/figure>\n\u003cp>The dulcet tones of Simon & Garfunkel and vivid Technicolor bring us to the most recognizable Bay Bridge clip. Dustin Hoffman's character, Ben Braddock, inconceivably travels westbound ... to Berkeley?! An anachronism that's hard to ignore, bested only by the beauty of the single, slow-moving 35-second tracking shot revealing the towered suspension span.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0085809/?ref_=nv_sr_2\" target=\"_blank\">\u003cstrong>\"Koyaanisqatsi\"\u003c/strong>\u003c/a> (1982) (2:40-2:50)(\u003ca href=\"https://www.youtube.com/watch?v=PirH8PADDgQ\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138703\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\">\u003cimg class=\"size-full wp-image-138703\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\" alt=\"\" width=\"640\" height=\"352\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Koyaanisqatsi\" (1982), directed by Godfrey Reggio.\u003c/figcaption>\u003c/figure>\n\u003cp>Blink and you'll miss it. The Godfrey Reggio-directed visual documentary, accompanied by the rhythmic chaos of Philip Glass' score, features two incredibly brief POV shots driving through the Yerba Buena Island tunnel into the sunlight of the western span. But strangely, in typical anachronistic mystery, those shots are cut out-of-order.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0119190/?ref_=nv_sr_1\" target=\"_blank\">\"George of the Jungle\"\u003c/a>\u003c/strong> (1997) (\u003ca href=\"https://www.youtube.com/watch?v=0WtqtD--OiE\" target=\"_blank\">2:50-5:25\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\">\u003cimg class=\"size-full wp-image-138715\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\" alt=\"\" width=\"640\" height=\"471\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"George of the Jungle\" (1997), directed by Sam Weisman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Hunky, 1990s Brendan Fraser swings on \"the biggest rope bridge he had ever seen.\" Complete with stranded parachutist, sweeping aerial shots and the poetic line, \"To swing, or not to swing?\" (yes, really), the \"George of the Jungle\" action sequence is perhaps the climax of the Bay Bridge's cinematic history. \"Watch out for that ...\" straight-to-video sequel, \"George of the Jungle 2\" (2003).\u003cem> (*the clip has been edited from the original)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shoddy bolts, bad welds, dangerous rust, frayed cables. With \u003cem>even more\u003c/em> reports of problems on the new eastern span of the Bay Bridge, we — like everyone in the Bay Area — are suffering from bad news fatigue.\u003c/p>\n\u003cp>We thought we’d remedy this by basking in the glory of the old San Francisco-Oakland Bay Bridge, relived through decades of Hollywood movies.\u003c/p>\n\u003cp>When the Bay Bridge opened to the public in November 1936, it was seen as a technological marvel, an engineering feat that exemplified mankind’s ability. Since then, the bridge has made numerous notable film appearances over the years.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>Unsurprisingly, all the clips we scrounged up show the still-functioning, towered suspension span of the bridge west of Yerba Buena Island, overlooking the more modest beauty of the cantilevered eastern stretch that is disappearing piece-by-piece in front of our eyes.\u003c/p>\n\u003cp>With sometimes glaring anachronistic errors, relive the 75-year history of the Bay Bridge in stunning Technicolor (and less-stunning black and white).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0034172/\" target=\"_blank\">\"Shadow of the Thin Man\"\u003c/a>\u003c/strong> (1941) (0:00-1:15) (\u003ca href=\"https://www.youtube.com/watch?v=T6cvDVgz_OE\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138711\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\">\u003cimg class=\"size-full wp-image-138711\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\" alt=\"\" width=\"640\" height=\"482\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Shadow of the Thin Man\" (1941), directed by W.S. Van Dyke.\u003c/figcaption>\u003c/figure>\n\u003cp>Myrna Loy and the mustachioed William Powell are pulled over for speeding on the upper deck of the bridge. The outdoor scene on the bridge, with Coit Tower and Telegraph Hill visible in the background, includes an impressive tracking shot amid three lanes of traffic. In what will become a bit of a trend, the plot has the two characters traveling eastbound (the next shots include the MacArthur Maze and later, Golden Gate Fields) despite heading west toward the city. \u003cem>(*the clip has been edited from the original).\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0037366/?ref_=nv_sr_1\" target=\"_blank\">\"Thirty Seconds Over Tokyo\"\u003c/a>\u003c/strong> (1944) (\u003ca href=\"https://www.youtube.com/watch?v=eaLgSlbS1lk\" target=\"_blank\">1:15-2:05\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138713\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\">\u003cimg class=\"size-full wp-image-138713\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\" alt=\"\" width=\"640\" height=\"468\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Thirty Seconds Over Tokyo\" (1944), directed by Mervyn LeRoy.\u003c/figcaption>\u003c/figure>\n\u003cp>It's easy to forget the still-new \"superstructure\" was still awe-inspiring nearly 10 years after it was completed. Also impressive, the terrific shot of a B-25 bomber flying under the Bay Bridge. Such shots led to the film, starring Spencer Tracy as Lt. Col. James Doolittle of \"Doolittle Raid\" fame, winning an Oscar for Best Special Effects.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0061722/?ref_=fn_al_tt_1\" target=\"_blank\">\"The Graduate\"\u003c/a>\u003c/strong> (1967) (2:04-2:40)(\u003ca href=\"https://www.youtube.com/watch?v=hsdvhJTqLak\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138718\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\">\u003cimg class=\"size-full wp-image-138718\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\" alt=\"\" width=\"640\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"The Graduate\" (1967), directed by Mike Nichols.\u003c/figcaption>\u003c/figure>\n\u003cp>The dulcet tones of Simon & Garfunkel and vivid Technicolor bring us to the most recognizable Bay Bridge clip. Dustin Hoffman's character, Ben Braddock, inconceivably travels westbound ... to Berkeley?! An anachronism that's hard to ignore, bested only by the beauty of the single, slow-moving 35-second tracking shot revealing the towered suspension span.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0085809/?ref_=nv_sr_2\" target=\"_blank\">\u003cstrong>\"Koyaanisqatsi\"\u003c/strong>\u003c/a> (1982) (2:40-2:50)(\u003ca href=\"https://www.youtube.com/watch?v=PirH8PADDgQ\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138703\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\">\u003cimg class=\"size-full wp-image-138703\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\" alt=\"\" width=\"640\" height=\"352\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Koyaanisqatsi\" (1982), directed by Godfrey Reggio.\u003c/figcaption>\u003c/figure>\n\u003cp>Blink and you'll miss it. The Godfrey Reggio-directed visual documentary, accompanied by the rhythmic chaos of Philip Glass' score, features two incredibly brief POV shots driving through the Yerba Buena Island tunnel into the sunlight of the western span. But strangely, in typical anachronistic mystery, those shots are cut out-of-order.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0119190/?ref_=nv_sr_1\" target=\"_blank\">\"George of the Jungle\"\u003c/a>\u003c/strong> (1997) (\u003ca href=\"https://www.youtube.com/watch?v=0WtqtD--OiE\" target=\"_blank\">2:50-5:25\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\">\u003cimg class=\"size-full wp-image-138715\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\" alt=\"\" width=\"640\" height=\"471\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"George of the Jungle\" (1997), directed by Sam Weisman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Hunky, 1990s Brendan Fraser swings on \"the biggest rope bridge he had ever seen.\" Complete with stranded parachutist, sweeping aerial shots and the poetic line, \"To swing, or not to swing?\" (yes, really), the \"George of the Jungle\" action sequence is perhaps the climax of the Bay Bridge's cinematic history. \"Watch out for that ...\" straight-to-video sequel, \"George of the Jungle 2\" (2003).\u003cem> (*the clip has been edited from the original)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How San Francisco Has Changed Since Hitchcock's 'Vertigo' (Photos)",
"title": "How San Francisco Has Changed Since Hitchcock's 'Vertigo' (Photos)",
"headTitle": "News Fix | KQED News",
"content": "\u003cfigure id=\"attachment_89934\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89934\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/Vert_Main.jpg\" alt='The view from the roof of 1302 Taylor St., which features in the opening sequence of \"Vertigo.\" At top, how it appears in the movie; bottom, the view today. (Courtesy Reel SF)' width=\"640\" height=\"269\">\u003cfigcaption class=\"wp-caption-text\">The view from the roof of 1302 Taylor St., which features in the opening sequences of \"Vertigo.\" At top, how it appears in the movie; bottom, the view more recently. (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89991\" class=\"wp-caption alignright\" style=\"max-width: 216px\">\u003cimg class=\" wp-image-89991 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/Hitchcock_Alfred_02-270x300.jpeg\" alt=\"Alfred Hitchcock (Wikipedia)\" width=\"216\" height=\"240\">\u003cfigcaption class=\"wp-caption-text\">Alfred Hitchcock (Wikipedia)\u003c/figcaption>\u003c/figure>\n\u003cp>\"Lincoln,\" \"Zero Dark Thirty\" and the other Academy Award nominees won't be the only films being discussed in San Francisco this \u003ca href=\"http://blogs.kqed.org/pop/2013/02/22/kqed-pop-is-live-tweeting-the-oscars/\">Oscars\u003c/a> Sunday. At 11 a.m., a few hours before the Oscars begin, Jay Sherwin will be talking about \"Vertigo\" and \"The Birds\" when he helps lead his latest \u003ca href=\"http://www.sfcityguides.org/desc.html?tour=120\">walking tour\u003c/a> of Alfred Hitchcock's San Francisco.\u003c/p>\n\u003cp>Here is how the tour is described on the \u003ca href=\"http://www.sfcityguides.org/desc.html?tour=120\">San Francisco City Guides website:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>The Master of Suspense loved San Francisco and used its beauty, elegance and mystery to great effect in several films. From Nob Hill to Union Square, you'll see some of the hotels, clubs, retail stores and other locations featured in Vertigo and other Hitchcock classics.\u003c/p>\u003c/blockquote>\n\u003cp>Sherwin said during the tour he talks about what the Hitchcock movies illustrate about the city. You can hear him describe the tour in this story that aired Tuesday on \u003ca href=\"http://www.californiareport.org/archive/R201302190850/b\">The California Report.\u003c!--more-->\u003c/a>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F80361903&color=ff6600&auto_play=false&show_artwork=false\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\u003cp>Those who take part in the tour also will most likely realize how the city has changed since Hitchcock filmed his movies. It also can be seen on \u003ca href=\"http://reelsf.com/\">Reel SF\u003c/a>, a website that collects and shares photos that show how the locations of movies set in the city appeared during filming and today. Many of the films feature a bustling mid-20th century City by the Bay; today's San Francisco is in some parts bigger and sleeker. In other sections, it appears more run-down or in transition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are some of the Reel SF photos showing the filming locations from \"Vertigo,\" a Hitchcock classic that was filmed in San Francisco and released in 1958. The captions on the photos include descriptions quoted from Reel SF.\u003c/p>\n\u003cp>\u003cstrong>The Rooftop\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89930\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89930\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/vert1then.jpg\" alt=\""In the dramatic nighttime opening sequence detective John 'Scottie' Ferguson (James Stewart) trails a policeman chasing a suspect across a series of rooftops. Scottie slips and ends up hanging perilously from a gutter causing him to suffer a severe case of acrophobia - a feeling of vertigo. The chase spanned almost a whole block from Washington Street towards Jackson Street on the rootops of 1302 to 1360 Taylor Street" (Courtesy Reel SF)\" width=\"640\" height=\"351\">\u003cfigcaption class=\"wp-caption-text\">\"In the dramatic nighttime opening sequence detective John 'Scottie' Ferguson (James Stewart) trails a policeman chasing a suspect across a series of rooftops. Scottie slips and ends up hanging perilously from a gutter causing him to suffer a severe case of acrophobia - a feeling of vertigo. The chase spanned almost a whole block from Washington Street towards Jackson Street on the rootops of 1302 to 1360 Taylor Street\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89931\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/vert1now.jpg\" alt='\"The background building is the Brocklebank Apartments, featured later in the movie, and behind it the Fairmont Hotel Tower, not there when Vertigo was filmed.\" (Courtesy Reel SF)' width=\"640\" height=\"429\">\u003cfigcaption class=\"wp-caption-text\">\"The background building is the Brocklebank Apartments, featured later in the movie, and behind it the Fairmont Hotel Tower, not there when Vertigo was filmed.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Scottie's Apartment\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89937\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89937\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/apartmentthen.jpg\" alt=\"The exterior scenes (for Scottie's home) were filmed at 900 Lombard Street on the corner of Jones ... From inside the house, Hitchcock chose a window view of Coit Tower." (Courtesy Reel SF)\" width=\"640\" height=\"353\">\u003cfigcaption class=\"wp-caption-text\">The exterior scenes (for Scottie's home) were filmed at 900 Lombard Street on the corner of Jones ... From inside the house, Hitchcock chose a window view of Coit Tower.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89938\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/apartmentnow.jpg\" alt='\" ... from outside 900 Lombard we see the same view today plus an unsightly apartment building blocking the distant twin spires of Sts. Peter and Paul church on Washington Square.\" (Courtesy Reel SF)' width=\"640\" height=\"386\">\u003cfigcaption class=\"wp-caption-text\">\" ... from outside 900 Lombard we see the same view today plus an unsightly apartment building blocking the distant twin spires of Sts. Peter and Paul church on Washington Square.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>St. Paulus\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89970\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89970\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/churchthen.jpg\" alt=\"Scottie in front of St. Paulus' German Evangelican Lutheran Church. (Courtesy Reel SF)\" width=\"640\" height=\"329\">\u003cfigcaption class=\"wp-caption-text\">Scottie in front of St. Paulus' German Evangelican Lutheran Church. (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89972\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89972\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/churchnow.jpg\" alt=\"The church burned down in 1995, and remains a vacant lot. (Courtesy Reel SF)\" width=\"640\" height=\"329\">\u003cfigcaption class=\"wp-caption-text\">The church burned down in 1995, and remains a vacant lot. (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Midge's Apartment\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89973\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89973\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/aptthen.jpg\" alt=\""Scotty visits his old flame Midge (Barbara Bel Geddes). The vista from her apartment window looks west to Russian Hill from the top of Union Street on Telegraph Hill. The building on the skyline to the left of Midge's shoulder is the La Mirada apartment building at 1100 Union Street. This scene was filmed in a studio using a photograph to virtually set the location." (Courtesy Reel SF)\" width=\"640\" height=\"347\">\u003cfigcaption class=\"wp-caption-text\">\"Scotty visits his old flame Midge (Barbara Bel Geddes). The vista from her apartment window looks west to Russian Hill from the top of Union Street on Telegraph Hill. The building on the skyline to the left of Midge's shoulder is the La Mirada apartment building at 1100 Union Street. This scene was filmed in a studio using a photograph to virtually set the location.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89976\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89976\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/aptnow.jpg\" alt='\"The same view today from near the same spot. The twin spires to the right belong to Sts Peter and Paul church on Filbert Street at Washington Square.\" (Courtesy Reel SF)' width=\"640\" height=\"221\">\u003cfigcaption class=\"wp-caption-text\">\"The same view today from near the same spot. The twin spires to the right belong to Sts Peter and Paul church on Filbert Street at Washington Square.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\n",
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"description": ""Lincoln," "Zero Dark Thirty" and the other Academy Award nominees won't be the only films being discussed in San Francisco this Oscars Sunday. At 11 a.m., a few hours before the Oscars begin, Jay Sherwin will be talking about "Vertigo" and "The Birds" when he helps lead his latest walking tour of Alfred Hitchcock's San Francisco.",
"title": "How San Francisco Has Changed Since Hitchcock's 'Vertigo' (Photos) | KQED",
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"headline": "How San Francisco Has Changed Since Hitchcock's 'Vertigo' (Photos)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_89934\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89934\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/Vert_Main.jpg\" alt='The view from the roof of 1302 Taylor St., which features in the opening sequence of \"Vertigo.\" At top, how it appears in the movie; bottom, the view today. (Courtesy Reel SF)' width=\"640\" height=\"269\">\u003cfigcaption class=\"wp-caption-text\">The view from the roof of 1302 Taylor St., which features in the opening sequences of \"Vertigo.\" At top, how it appears in the movie; bottom, the view more recently. (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89991\" class=\"wp-caption alignright\" style=\"max-width: 216px\">\u003cimg class=\" wp-image-89991 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/Hitchcock_Alfred_02-270x300.jpeg\" alt=\"Alfred Hitchcock (Wikipedia)\" width=\"216\" height=\"240\">\u003cfigcaption class=\"wp-caption-text\">Alfred Hitchcock (Wikipedia)\u003c/figcaption>\u003c/figure>\n\u003cp>\"Lincoln,\" \"Zero Dark Thirty\" and the other Academy Award nominees won't be the only films being discussed in San Francisco this \u003ca href=\"http://blogs.kqed.org/pop/2013/02/22/kqed-pop-is-live-tweeting-the-oscars/\">Oscars\u003c/a> Sunday. At 11 a.m., a few hours before the Oscars begin, Jay Sherwin will be talking about \"Vertigo\" and \"The Birds\" when he helps lead his latest \u003ca href=\"http://www.sfcityguides.org/desc.html?tour=120\">walking tour\u003c/a> of Alfred Hitchcock's San Francisco.\u003c/p>\n\u003cp>Here is how the tour is described on the \u003ca href=\"http://www.sfcityguides.org/desc.html?tour=120\">San Francisco City Guides website:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>The Master of Suspense loved San Francisco and used its beauty, elegance and mystery to great effect in several films. From Nob Hill to Union Square, you'll see some of the hotels, clubs, retail stores and other locations featured in Vertigo and other Hitchcock classics.\u003c/p>\u003c/blockquote>\n\u003cp>Sherwin said during the tour he talks about what the Hitchcock movies illustrate about the city. You can hear him describe the tour in this story that aired Tuesday on \u003ca href=\"http://www.californiareport.org/archive/R201302190850/b\">The California Report.\u003c!--more-->\u003c/a>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F80361903&color=ff6600&auto_play=false&show_artwork=false\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\u003cp>Those who take part in the tour also will most likely realize how the city has changed since Hitchcock filmed his movies. It also can be seen on \u003ca href=\"http://reelsf.com/\">Reel SF\u003c/a>, a website that collects and shares photos that show how the locations of movies set in the city appeared during filming and today. Many of the films feature a bustling mid-20th century City by the Bay; today's San Francisco is in some parts bigger and sleeker. In other sections, it appears more run-down or in transition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are some of the Reel SF photos showing the filming locations from \"Vertigo,\" a Hitchcock classic that was filmed in San Francisco and released in 1958. The captions on the photos include descriptions quoted from Reel SF.\u003c/p>\n\u003cp>\u003cstrong>The Rooftop\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89930\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89930\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/vert1then.jpg\" alt=\""In the dramatic nighttime opening sequence detective John 'Scottie' Ferguson (James Stewart) trails a policeman chasing a suspect across a series of rooftops. Scottie slips and ends up hanging perilously from a gutter causing him to suffer a severe case of acrophobia - a feeling of vertigo. The chase spanned almost a whole block from Washington Street towards Jackson Street on the rootops of 1302 to 1360 Taylor Street" (Courtesy Reel SF)\" width=\"640\" height=\"351\">\u003cfigcaption class=\"wp-caption-text\">\"In the dramatic nighttime opening sequence detective John 'Scottie' Ferguson (James Stewart) trails a policeman chasing a suspect across a series of rooftops. Scottie slips and ends up hanging perilously from a gutter causing him to suffer a severe case of acrophobia - a feeling of vertigo. The chase spanned almost a whole block from Washington Street towards Jackson Street on the rootops of 1302 to 1360 Taylor Street\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89931\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/vert1now.jpg\" alt='\"The background building is the Brocklebank Apartments, featured later in the movie, and behind it the Fairmont Hotel Tower, not there when Vertigo was filmed.\" (Courtesy Reel SF)' width=\"640\" height=\"429\">\u003cfigcaption class=\"wp-caption-text\">\"The background building is the Brocklebank Apartments, featured later in the movie, and behind it the Fairmont Hotel Tower, not there when Vertigo was filmed.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Scottie's Apartment\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89937\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89937\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/apartmentthen.jpg\" alt=\"The exterior scenes (for Scottie's home) were filmed at 900 Lombard Street on the corner of Jones ... From inside the house, Hitchcock chose a window view of Coit Tower." (Courtesy Reel SF)\" width=\"640\" height=\"353\">\u003cfigcaption class=\"wp-caption-text\">The exterior scenes (for Scottie's home) were filmed at 900 Lombard Street on the corner of Jones ... From inside the house, Hitchcock chose a window view of Coit Tower.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89938\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/apartmentnow.jpg\" alt='\" ... from outside 900 Lombard we see the same view today plus an unsightly apartment building blocking the distant twin spires of Sts. Peter and Paul church on Washington Square.\" (Courtesy Reel SF)' width=\"640\" height=\"386\">\u003cfigcaption class=\"wp-caption-text\">\" ... from outside 900 Lombard we see the same view today plus an unsightly apartment building blocking the distant twin spires of Sts. Peter and Paul church on Washington Square.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>St. Paulus\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89970\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89970\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/churchthen.jpg\" alt=\"Scottie in front of St. Paulus' German Evangelican Lutheran Church. (Courtesy Reel SF)\" width=\"640\" height=\"329\">\u003cfigcaption class=\"wp-caption-text\">Scottie in front of St. Paulus' German Evangelican Lutheran Church. (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89972\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89972\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/churchnow.jpg\" alt=\"The church burned down in 1995, and remains a vacant lot. (Courtesy Reel SF)\" width=\"640\" height=\"329\">\u003cfigcaption class=\"wp-caption-text\">The church burned down in 1995, and remains a vacant lot. (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Midge's Apartment\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_89973\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89973\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/aptthen.jpg\" alt=\""Scotty visits his old flame Midge (Barbara Bel Geddes). The vista from her apartment window looks west to Russian Hill from the top of Union Street on Telegraph Hill. The building on the skyline to the left of Midge's shoulder is the La Mirada apartment building at 1100 Union Street. This scene was filmed in a studio using a photograph to virtually set the location." (Courtesy Reel SF)\" width=\"640\" height=\"347\">\u003cfigcaption class=\"wp-caption-text\">\"Scotty visits his old flame Midge (Barbara Bel Geddes). The vista from her apartment window looks west to Russian Hill from the top of Union Street on Telegraph Hill. The building on the skyline to the left of Midge's shoulder is the La Mirada apartment building at 1100 Union Street. This scene was filmed in a studio using a photograph to virtually set the location.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_89976\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-89976\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/02/aptnow.jpg\" alt='\"The same view today from near the same spot. The twin spires to the right belong to Sts Peter and Paul church on Filbert Street at Washington Square.\" (Courtesy Reel SF)' width=\"640\" height=\"221\">\u003cfigcaption class=\"wp-caption-text\">\"The same view today from near the same spot. The twin spires to the right belong to Sts Peter and Paul church on Filbert Street at Washington Square.\" (Courtesy Reel SF)\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Francisco Film Critic Mick LaSalle on His Call For Less Violence in Films",
"title": "San Francisco Film Critic Mick LaSalle on His Call For Less Violence in Films",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>It’s a rare moment when a San Francisco Chronicle Columnist finds common ground with the executive director of the National Rifle Association.\u003c/p>\n\u003cfigure id=\"attachment_85677\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film.jpg\">\u003cimg class=\"size-medium wp-image-85677\" title=\"Dark Knight Rises batman film\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film-300x187.jpg\" alt=\"\" width=\"300\" height=\"187\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mick LaSalle found the film \"Dark Knight Rises\" to be \"anti-life.\" (Warner Brothers)\u003c/figcaption>\u003c/figure>\n\u003cp>That happened this month when Chronicle film critic Mick LaSalle put out a call to stanch the flow of cinema carnage. Wayne LaPierre of the NRA made a similar appeal just weeks before. Both were responding to the Dec. 14 massacre of school children at Sandy Hook Elementary School.\u003c/p>\n\u003cp>To be sure, LaSalle isn’t endorsing the NRA’s position whole hog. He still thinks fewer people would shoot each other if there were fewer guns available, a proposition that’s anathema to LaPierre.\u003c/p>\n\u003cp>And LaSalle isn't calling for censorship. In \u003ca href=\"http://www.amazon.com/Mick-LaSalle/e/B001KDBDAM/ref=ntt_athr_dp_pel_1\">two books\u003c/a>, he lamented the era from 1934 to 1968 when Hollywood studios voluntarily submitted their films to the Production Code Administration for approval.\u003c/p>\n\u003cp>But LaSalle had this to say in his \u003ca href=\"http://www.sfgate.com/movies/article/Violent-media-poisoning-nation-s-soul-4160035.php\" target=\"_blank\">Jan. 2 essay\u003c/a>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cblockquote>\u003cp>The interaction between real-life and movies is complicated. Some will claim that movies influence behavior, even as producers will invariably insist that movies only reflect society, as though movies were some unobtrusive aspect of culture, unnoticed by the world.\u003c/p>\n\u003cp>The truth is that movies and society influence each other in ways that overlap and are therefore arguable. But clearly something seems to be going on, and something is in need of changing.\u003c/p>\u003c/blockquote>\n\u003cp>LaSalle said he had an \"epiphany\" after a gunman, by some accounts dressed as a Batman villain, sprayed bullets at an audience for the film “The Dark Knight Rises” in Aurora, Colo., last July...\u003c/p>\n\u003cblockquote>\u003cp>When I saw it at an advance screening, I regarded it as a wallow in nonstop cruelty and destruction, a film that was antilife. But when I wrote the review, I said none of those things, which I considered to be too subjective and personal, and instead concentrated on objective aspects of the movie that I deemed deficient, and I gave it a middling-to-negative review.\u003c/p>\n\u003cp>Then came the events in that movie theater in Aurora, Colo., and suddenly my own writing about this film seemed to me limp and inadequate - no, flat-out pathetic. It's not that \"The Dark Knight Rises\" directly caused a maniac to start killing people in a movie theater; obviously, it didn't. But it did seem to me that the soul-crushing chaos of the film - ultimately reflected in what happened in Aurora - warranted a response that it never got.\u003c/p>\u003c/blockquote>\n\u003cp>Does this mean critics should pass moral judgment on films?\u003c/p>\n\u003cp>“A critic should not end up saying ‘this film offended me,’” LaSalle told me. “Because to say films are good or bad to the extent they comport with my value system is to become useless as a critic. But just because you don’t want to do that doesn’t mean you can’t say that this movie is anti-life. To ignore that 'The Dark Knight Rises' is an ugly, nihilistic vision is not to sidestep a moral judgment, it’s to sidestep making something clear that’s essential to how that movie functions.”\u003c/p>\n\u003cp>LaSalle said that out of 300 to 350 emails, perhaps seven or eight have disagreed with his essay, which appeared in multiple newspapers around the country.\u003c/p>\n\u003cp>“So many emails have said ‘you’re so brave,’ but the fact of the matter is that it wasn’t brave because everybody agreed with it.\"\u003c/p>\n\u003cp>LaSalle said he’d like to see more pressure put on the Motion Picture Association of America, the trade association for the movie business that rates its own films. He said the association should use violence as a much more important criterion in imposing ratings.\u003c/p>\n\u003cp>Specifically he wants one act of violence in a movie to result in an R rating, just as sex triggers that rating now. “All I’m doing here is saying that guns should be considered as dangerous as nipples.”\u003c/p>\n\u003cp>LaSalle seems to have scientific research on his side, with multiple studies correlating violence in the media to violence in real life. \"The evidence is now clear and convincing: media violence is 1 of the causal factors of real-life violence and aggression,\" the American Academy of Pediatrics concluded in \u003ca href=\"http://pediatrics.aappublications.org/content/124/5/1495.full\">a 2009 policy statement\u003c/a>.\u003c/p>\n\u003cp>Likewise the International Society for Research on Aggression \u003ca href=\"http://www.israsociety.com/pdfs/Media%20Violence%20Commission%20final%20report.pdf\">concluded\u003c/a> that the rating system for movies and other media needs to be improved.\u003c/p>\n\u003cp>I called the Motion Picture Association for a reaction to LaSalle's suggestion, but the director of communications said it would have no comment. That was the response I got from Warner Bros. as well.\u003c/p>\n\u003cp>Vice president Joseph Biden did a little better – he met with some of the heads of major studios along with television producers and theater owners on Thursday, after which the organizations put out a joint statement:\u003c/p>\n\u003cp>\"The entertainment community appreciates being included in the dialogue around the Administration's efforts to confront the complex challenge of gun violence in America. This industry has a longstanding commitment to provide parents the tools necessary to make the right viewing decisions for their families. We welcome the opportunity to share that history and look forward to doing our part to seek meaningful solutions.\"\u003c/p>\n\u003cp>But any attempt to impose new restrictions on the media will face opposition. David Horowitz of the Media Coalition, which works for free expression for the industry, \u003ca href=\"http://www.npr.org/2013/01/11/169172196/biden-meets-with-video-game-makers-to-discuss-gun-violence\">told National Public Radio\u003c/a> that the government has no role in tamping down the violence in movies, songs or video games.\u003c/p>\n\u003cp>\"The discretion is left to the consumer to decide what he or she thinks is appropriate for him or herself or, in the case of a parent, for a child,\" he said. He noted the violence in such classic works of literature as the Iliad and even the Bible.\u003c/p>\n\u003cp>The U.S. Supreme Court has taken a similar position, as when \u003ca href=\"http://ww2.kqed.org/news/2011/06/27/supreme-court-rules-california-cant-ban-violent-video-games-for-minors/\">it struck down a state law \u003c/a>sponsored by California Sen. Leland Yee, D-San Francisco, that would have restricted children's access to violent video games.\u003c/p>\n\u003cp>LaSalle himself thinks Hollywood will shrug off any attempt to stifle the mayhem on screen.\u003c/p>\n\u003cp>“Absolutely nothing will happen,” he said. “For the MPAA to change its ratings will cost millions and millions of dollars. Fewer movies like 'Jack Reacher' would be made, or they would have to be made differently. Even if we organized, let’s say, and went to Washington and had a great meeting with everybody, we would not get what we wanted.”\u003c/p>\n\u003cp>Meetings like the one Biden held on Thursday have taken place in the past, said LaSalle. Typically the studios invite the activists to Hollywood, introduce them to some stars, and promise to review their ratings system, but warn that changes will take a few months. The activists go home and trumpet their success, he said. Months later when the activists realize that nothing has changed, they are too embarrassed to admit their failure.\u003c/p>\n\u003cp>So what’s LaSalle’s solution?\u003c/p>\n\u003cp>He’d like to see prominent politicians take a stand, not only introducing gun control legislation but also calling for less violence in films.\u003c/p>\n\u003cp>Actual legislation would be too much – LaSalle doesn’t want to see the government get into the business of editing movies – but he thinks a firm suggestion might help.\u003c/p>\n\u003cp>I called the office of California Sen. Dianne Feinstein. She has been the foremost advocate of gun control in the U.S. Senate, and I wanted to know if she had any plans to speak out on movie violence as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Her spokesperson said she she’d call me back. I'll let you know if that happens.\u003c/p>\n\n",
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"description": "Chronicle film critic Mick LaSalle put out a call to quench the deluge of movie carnage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a rare moment when a San Francisco Chronicle Columnist finds common ground with the executive director of the National Rifle Association.\u003c/p>\n\u003cfigure id=\"attachment_85677\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film.jpg\">\u003cimg class=\"size-medium wp-image-85677\" title=\"Dark Knight Rises batman film\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Dark-Knight-Rises-batman-film-300x187.jpg\" alt=\"\" width=\"300\" height=\"187\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mick LaSalle found the film \"Dark Knight Rises\" to be \"anti-life.\" (Warner Brothers)\u003c/figcaption>\u003c/figure>\n\u003cp>That happened this month when Chronicle film critic Mick LaSalle put out a call to stanch the flow of cinema carnage. Wayne LaPierre of the NRA made a similar appeal just weeks before. Both were responding to the Dec. 14 massacre of school children at Sandy Hook Elementary School.\u003c/p>\n\u003cp>To be sure, LaSalle isn’t endorsing the NRA’s position whole hog. He still thinks fewer people would shoot each other if there were fewer guns available, a proposition that’s anathema to LaPierre.\u003c/p>\n\u003cp>And LaSalle isn't calling for censorship. In \u003ca href=\"http://www.amazon.com/Mick-LaSalle/e/B001KDBDAM/ref=ntt_athr_dp_pel_1\">two books\u003c/a>, he lamented the era from 1934 to 1968 when Hollywood studios voluntarily submitted their films to the Production Code Administration for approval.\u003c/p>\n\u003cp>But LaSalle had this to say in his \u003ca href=\"http://www.sfgate.com/movies/article/Violent-media-poisoning-nation-s-soul-4160035.php\" target=\"_blank\">Jan. 2 essay\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cblockquote>\u003cp>The interaction between real-life and movies is complicated. Some will claim that movies influence behavior, even as producers will invariably insist that movies only reflect society, as though movies were some unobtrusive aspect of culture, unnoticed by the world.\u003c/p>\n\u003cp>The truth is that movies and society influence each other in ways that overlap and are therefore arguable. But clearly something seems to be going on, and something is in need of changing.\u003c/p>\u003c/blockquote>\n\u003cp>LaSalle said he had an \"epiphany\" after a gunman, by some accounts dressed as a Batman villain, sprayed bullets at an audience for the film “The Dark Knight Rises” in Aurora, Colo., last July...\u003c/p>\n\u003cblockquote>\u003cp>When I saw it at an advance screening, I regarded it as a wallow in nonstop cruelty and destruction, a film that was antilife. But when I wrote the review, I said none of those things, which I considered to be too subjective and personal, and instead concentrated on objective aspects of the movie that I deemed deficient, and I gave it a middling-to-negative review.\u003c/p>\n\u003cp>Then came the events in that movie theater in Aurora, Colo., and suddenly my own writing about this film seemed to me limp and inadequate - no, flat-out pathetic. It's not that \"The Dark Knight Rises\" directly caused a maniac to start killing people in a movie theater; obviously, it didn't. But it did seem to me that the soul-crushing chaos of the film - ultimately reflected in what happened in Aurora - warranted a response that it never got.\u003c/p>\u003c/blockquote>\n\u003cp>Does this mean critics should pass moral judgment on films?\u003c/p>\n\u003cp>“A critic should not end up saying ‘this film offended me,’” LaSalle told me. “Because to say films are good or bad to the extent they comport with my value system is to become useless as a critic. But just because you don’t want to do that doesn’t mean you can’t say that this movie is anti-life. To ignore that 'The Dark Knight Rises' is an ugly, nihilistic vision is not to sidestep a moral judgment, it’s to sidestep making something clear that’s essential to how that movie functions.”\u003c/p>\n\u003cp>LaSalle said that out of 300 to 350 emails, perhaps seven or eight have disagreed with his essay, which appeared in multiple newspapers around the country.\u003c/p>\n\u003cp>“So many emails have said ‘you’re so brave,’ but the fact of the matter is that it wasn’t brave because everybody agreed with it.\"\u003c/p>\n\u003cp>LaSalle said he’d like to see more pressure put on the Motion Picture Association of America, the trade association for the movie business that rates its own films. He said the association should use violence as a much more important criterion in imposing ratings.\u003c/p>\n\u003cp>Specifically he wants one act of violence in a movie to result in an R rating, just as sex triggers that rating now. “All I’m doing here is saying that guns should be considered as dangerous as nipples.”\u003c/p>\n\u003cp>LaSalle seems to have scientific research on his side, with multiple studies correlating violence in the media to violence in real life. \"The evidence is now clear and convincing: media violence is 1 of the causal factors of real-life violence and aggression,\" the American Academy of Pediatrics concluded in \u003ca href=\"http://pediatrics.aappublications.org/content/124/5/1495.full\">a 2009 policy statement\u003c/a>.\u003c/p>\n\u003cp>Likewise the International Society for Research on Aggression \u003ca href=\"http://www.israsociety.com/pdfs/Media%20Violence%20Commission%20final%20report.pdf\">concluded\u003c/a> that the rating system for movies and other media needs to be improved.\u003c/p>\n\u003cp>I called the Motion Picture Association for a reaction to LaSalle's suggestion, but the director of communications said it would have no comment. That was the response I got from Warner Bros. as well.\u003c/p>\n\u003cp>Vice president Joseph Biden did a little better – he met with some of the heads of major studios along with television producers and theater owners on Thursday, after which the organizations put out a joint statement:\u003c/p>\n\u003cp>\"The entertainment community appreciates being included in the dialogue around the Administration's efforts to confront the complex challenge of gun violence in America. This industry has a longstanding commitment to provide parents the tools necessary to make the right viewing decisions for their families. We welcome the opportunity to share that history and look forward to doing our part to seek meaningful solutions.\"\u003c/p>\n\u003cp>But any attempt to impose new restrictions on the media will face opposition. David Horowitz of the Media Coalition, which works for free expression for the industry, \u003ca href=\"http://www.npr.org/2013/01/11/169172196/biden-meets-with-video-game-makers-to-discuss-gun-violence\">told National Public Radio\u003c/a> that the government has no role in tamping down the violence in movies, songs or video games.\u003c/p>\n\u003cp>\"The discretion is left to the consumer to decide what he or she thinks is appropriate for him or herself or, in the case of a parent, for a child,\" he said. He noted the violence in such classic works of literature as the Iliad and even the Bible.\u003c/p>\n\u003cp>The U.S. Supreme Court has taken a similar position, as when \u003ca href=\"http://ww2.kqed.org/news/2011/06/27/supreme-court-rules-california-cant-ban-violent-video-games-for-minors/\">it struck down a state law \u003c/a>sponsored by California Sen. Leland Yee, D-San Francisco, that would have restricted children's access to violent video games.\u003c/p>\n\u003cp>LaSalle himself thinks Hollywood will shrug off any attempt to stifle the mayhem on screen.\u003c/p>\n\u003cp>“Absolutely nothing will happen,” he said. “For the MPAA to change its ratings will cost millions and millions of dollars. Fewer movies like 'Jack Reacher' would be made, or they would have to be made differently. Even if we organized, let’s say, and went to Washington and had a great meeting with everybody, we would not get what we wanted.”\u003c/p>\n\u003cp>Meetings like the one Biden held on Thursday have taken place in the past, said LaSalle. Typically the studios invite the activists to Hollywood, introduce them to some stars, and promise to review their ratings system, but warn that changes will take a few months. The activists go home and trumpet their success, he said. Months later when the activists realize that nothing has changed, they are too embarrassed to admit their failure.\u003c/p>\n\u003cp>So what’s LaSalle’s solution?\u003c/p>\n\u003cp>He’d like to see prominent politicians take a stand, not only introducing gun control legislation but also calling for less violence in films.\u003c/p>\n\u003cp>Actual legislation would be too much – LaSalle doesn’t want to see the government get into the business of editing movies – but he thinks a firm suggestion might help.\u003c/p>\n\u003cp>I called the office of California Sen. Dianne Feinstein. She has been the foremost advocate of gun control in the U.S. Senate, and I wanted to know if she had any plans to speak out on movie violence as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Keeping it Reel, San Francisco's Roxie Theater Turns to Kickstarter",
"title": "Keeping it Reel, San Francisco's Roxie Theater Turns to Kickstarter",
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"content": "\u003cfigure id=\"attachment_80723\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/7786672860_cf6cd1b1f9_b.jpg\">\u003cimg class=\"size-medium wp-image-80723\" title=\"7786672860_cf6cd1b1f9_b\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/7786672860_cf6cd1b1f9_b-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lynn Friedman/Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>It's been hard times for independent movie theaters in San Francisco. The \u003ca href=\"http://ww2.kqed.org/news/2011/07/26/red-vic-last-show/\" target=\"_blank\">Red Vic\u003c/a> closed last year and and the \u003ca href=\"http://www.sfgate.com/movies/article/Lumiere-Theatre-indie-showcase-closing-3879206.php\" target=\"_blank\">Lumiere\u003c/a> closed in September.\u003c/p>\n\u003cp>But the \u003ca href=\"http://roxie.com/\" target=\"_blank\">Roxie Theater\u003c/a> -- wedged between trendy bars and restaurants on 16th Street in San Francisco's Mission District -- has screened films for more than 100 years. The Roxie claims to be the oldest continuously running theater in America -- and says it's determined to stay. These days the Roxie is also home to film festivals, documentaries and even some live events.\u003c/p>\n\u003cp>In 2007 the theater became a non-profit after a \u003ca href=\"http://www.sf360.org/articles/q-and-a?pageid=13610\" target=\"_blank\">disastrous partnership\u003c/a> with now-bankrupt New College of California. Ticket sales are up 17 percent, according to the Roxie's Executive Director Chris Statton.\u003c/p>\n\u003cp>But ticket sales alone don't close the budget gap.\u003c/p>\n\u003cp>\"We're just looking to make up the last little bit of our budget through grants and fundraising,\" Statton says. \"We're actually really far along in becoming a sustainable non-profit.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the meantime, the fundraisers are likely to continue, Statton says.\u003c!--more-->\u003c/p>\n\u003cp>That money helps the theater bring in film directors, actors and artists to talk about their work, which in turn attracts a bigger audience. It also helps with local partnerships. Last month the theater showcased art and archival film to celebrate the \u003ca href=\"http://missionlocal.org/2012/10/clarion-alley-turns-20/\" target=\"_blank\">Clarion Alley Mural Project’s 20th anniversary\u003c/a>.\u003c/p>\n\u003cp>The theater recently launched a \u003ca href=\"http://www.kickstarter.com/projects/52522596/the-roxie-theater-is-keeping-our-mission-reel\" target=\"_blank\">Kickstarter campaign\u003c/a> because it was unable to schedule a winter event this year. \"We would like to be more of a support to the artists in our community and develop more of a stronger social justice program here,\" Statton says. \"We try to find the gems that are forgotten by the larger venues, movies that slipped through the cracks and that we feel need to be noticed. Our programming team is amazing at doing that and are looking to support film as an art.\"\u003c/p>\n\u003cp>As part of the Kickstarter campaign, the Roxie asked filmmakers why they support the theater.\u003c/p>\n\u003cp>John Waters certainly has a convincing argument on the theater's mind-body experience. But if you've ever seen \u003ca href=\"http://www.rottentomatoes.com/m/pink_flamingos/\" target=\"_blank\">Pink Flamingoes\u003c/a>, you know it's at least semi-gross.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://www.youtube.com/embed/qxrtUYmmXYI?rel=0\" frameborder=\"0\" width=\"640\" height=\"360\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "It's been hard times for independent movie theaters in San Francisco. The Red Vic closed last year and and the Lumiere closed in September.\r\n\r\nBut the Roxie Theater -- wedged between trendy bars and restaurants on 16th Street in San Francisco's Mission District -- has screened films for more than 100 years. The Roxie claims to be the oldest continuously running theater in American -- and says it's determined to stay. These days the Roxie is also home to film festivals, documentaries and even some live events.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_80723\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/7786672860_cf6cd1b1f9_b.jpg\">\u003cimg class=\"size-medium wp-image-80723\" title=\"7786672860_cf6cd1b1f9_b\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/7786672860_cf6cd1b1f9_b-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lynn Friedman/Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>It's been hard times for independent movie theaters in San Francisco. The \u003ca href=\"http://ww2.kqed.org/news/2011/07/26/red-vic-last-show/\" target=\"_blank\">Red Vic\u003c/a> closed last year and and the \u003ca href=\"http://www.sfgate.com/movies/article/Lumiere-Theatre-indie-showcase-closing-3879206.php\" target=\"_blank\">Lumiere\u003c/a> closed in September.\u003c/p>\n\u003cp>But the \u003ca href=\"http://roxie.com/\" target=\"_blank\">Roxie Theater\u003c/a> -- wedged between trendy bars and restaurants on 16th Street in San Francisco's Mission District -- has screened films for more than 100 years. The Roxie claims to be the oldest continuously running theater in America -- and says it's determined to stay. These days the Roxie is also home to film festivals, documentaries and even some live events.\u003c/p>\n\u003cp>In 2007 the theater became a non-profit after a \u003ca href=\"http://www.sf360.org/articles/q-and-a?pageid=13610\" target=\"_blank\">disastrous partnership\u003c/a> with now-bankrupt New College of California. Ticket sales are up 17 percent, according to the Roxie's Executive Director Chris Statton.\u003c/p>\n\u003cp>But ticket sales alone don't close the budget gap.\u003c/p>\n\u003cp>\"We're just looking to make up the last little bit of our budget through grants and fundraising,\" Statton says. \"We're actually really far along in becoming a sustainable non-profit.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, the fundraisers are likely to continue, Statton says.\u003c!--more-->\u003c/p>\n\u003cp>That money helps the theater bring in film directors, actors and artists to talk about their work, which in turn attracts a bigger audience. It also helps with local partnerships. Last month the theater showcased art and archival film to celebrate the \u003ca href=\"http://missionlocal.org/2012/10/clarion-alley-turns-20/\" target=\"_blank\">Clarion Alley Mural Project’s 20th anniversary\u003c/a>.\u003c/p>\n\u003cp>The theater recently launched a \u003ca href=\"http://www.kickstarter.com/projects/52522596/the-roxie-theater-is-keeping-our-mission-reel\" target=\"_blank\">Kickstarter campaign\u003c/a> because it was unable to schedule a winter event this year. \"We would like to be more of a support to the artists in our community and develop more of a stronger social justice program here,\" Statton says. \"We try to find the gems that are forgotten by the larger venues, movies that slipped through the cracks and that we feel need to be noticed. Our programming team is amazing at doing that and are looking to support film as an art.\"\u003c/p>\n\u003cp>As part of the Kickstarter campaign, the Roxie asked filmmakers why they support the theater.\u003c/p>\n\u003cp>John Waters certainly has a convincing argument on the theater's mind-body experience. But if you've ever seen \u003ca href=\"http://www.rottentomatoes.com/m/pink_flamingos/\" target=\"_blank\">Pink Flamingoes\u003c/a>, you know it's at least semi-gross.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://www.youtube.com/embed/qxrtUYmmXYI?rel=0\" frameborder=\"0\" width=\"640\" height=\"360\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Return of the Parkway: Oakland Theater Tries to Revive Tradition",
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"content": "\u003cp>\u003cem>by Lauren Benichou\u003c/em>\u003c/p>\n\u003cp>Movie sequels rarely do as well as the originals. The owners of the New Parkway Theater are betting that trend doesn’t apply to theaters themselves.\u003c/p>\n\u003cfigure id=\"attachment_80582\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/Parkway.jpg\">\u003cimg class=\"size-medium wp-image-80582\" title=\"Parkway\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/Parkway-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The New Parkway Theater is getting its permits in order. (Lauren Benichou/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 30, the \u003ca href=\"http://thenewparkway.com/index.html\">New Parkway Theater\u003c/a> hopes to replicate the success of the beloved Parkway Theater at the foot of Park Boulevard in Oakland where the audience could lounge on couches and loveseats while chugging beers or munching pizza. The original Parkway \u003ca href=\"http://www.kqed.org/a/kqednews/R903201730\">closed\u003c/a>in March of 2009.\u003c/p>\n\u003cp>The New Parkway is popping up in the sizzling Uptown neighborhood at 474 24\u003csup>th\u003c/sup> Street. Local businesses threw the theater a welcome-to-the-neighborhood party Oct. 24th.\u003c/p>\n\u003cp>\u003c!--more-->The theater is still under construction, but true to the spirit of the original Parkway, surrounding stores opened their spaces for screenings of movies like \u003ca href=\"http://www.imdb.com/title/tt0069704/\">“American Graffiti,”\u003c/a> \u003ca href=\"The%20Night%20of%20the%20Living%20Dead,%E2%80%9D\">“The Night of the Living Dead,”\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0162346/\">“Ghost World,”\u003c/a> selling empanadas, chocolate truffles and other treats… along with beer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And as the management of the theater hoped, some old Parkway devotees gathered for the party. “I left a Giants' game to come here,” said Risa Nye, a former regular. “So, you know, that means a lot.”\u003c/p>\n\u003cp>The new owners are optimistic they can avoid the fate of the old Parkway’s owners, Kyle and Catherine Fischer, who \u003ca href=\"http://www.kqed.org/a/kqednews/R903201730\">shut the theater down\u003c/a> in 2009. According to the \u003ca href=\"http://www.eastbayexpress.com/gyrobase/picture-pub-pizza--poof/Content?oid=1370525&showFullText=true\">East Bay Express\u003c/a>, the old Parkway made money, but the Fischers became overextended after investing in a sister location in El Cerrito.\u003c/p>\n\u003cp>The New Parkway owners \u003ca href=\"http://thenewparkway.com/history.html\">wrote\u003c/a> this about the old ones:\u003c/p>\n\u003cblockquote>\u003cp>You can call the Fischers poor managers, you can call them overambitious, or you can say that they had the bad fortune of trying to expand in a contracting economy, but there is no denying that they built a wildly popular, incredibly unique, highly acclaimed, and financially successful theater in a part of Oakland where many doubters would have said it could never be done. We plan to follow in their footsteps.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Parkway II\u003c/strong>\u003c/p>\n\u003cp>After a failed attempt to reopen at the original location, J. Moses Ceaser, the managing partner of the New Parkway, connected with Matthew Iglehart, who owns a couple of properties in the Uptown area and wanted to rent one out as a theater. By December 2011, a new lease was signed.\u003c/p>\n\u003cp>Will “The Thrill” Viharo was the former programmer for the original Parkway and is now the publicist and event consultant. “It’s like the cancellation of Star Trek,” he says. “So there [are] all these ‘trekkies’ out there, or Parkway heads, and they’ve been wanting this show to come back. So this is kind of like Parkway the Next Generation.”\u003c/p>\n\u003cp>The new management of the theater will follow the same basic concept as its predecessor but plans improvements.\u003c/p>\n\u003cp>Managing partner J. Moses Ceaser says people complained about the quality of the food and the cleanliness of the original venue. “I think we can be kind of Parkway-plus in that regard,” he says.\u003c/p>\n\u003cp>But opening an independent theater is one thing. Keeping it open is another, especially with the New Parkway’s unusual format.\u003c/p>\n\u003cp>The Cerrito is now leased to \u003ca href=\"http://www.rialtocinemas.com/index.php\">Rialto Cinemas\u003c/a>, which also runs the only independent theater in Berkeley, the Elmwood. Like the Parkway, the Cerrito serves food and alcoholic beverages, but unlike the old one, the New Parkway runs new releases as well as older movies.\u003c/p>\n\u003cp>Ky Boyd, the proprietor of Rialto Cinemas, says running an independent theater is hard because a single venue can’t depend on a big company to bail it out if it hits rough times. “It’s a challenging business but a very rewarding one in ways other than finances,” he says.\u003c/p>\n\u003cp>It can be even more difficult to successfully run a theater if it only plays second-run movies, meaning new releases that can be 3 to 5 weeks old. “Movies are perishable products,” he says. “They don’t always do well in their second cycle.”\u003c/p>\n\u003cp>And serving restaurant quality food in a theater, as Boyd does in the Cerrito, requires extensive planning. “You have a much higher operating cost everyday that you have to plan for,” he says. “But it is always a good time to open a new theater especially when you are bringing entertainment and you are anchoring in a neighborhood that didn’t have a theater before.”\u003c/p>\n\u003cp>Parkwayheads won’t have to wait much longer for the grand opening and The New Parkway is already programming upcoming events like a Parkway Classic night. Every Thursday, the New Parkway will be screening movies that made the old Parkway famous with classic cult movies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stay tuned for “Revenge of the Parkway.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>by Lauren Benichou\u003c/em>\u003c/p>\n\u003cp>Movie sequels rarely do as well as the originals. The owners of the New Parkway Theater are betting that trend doesn’t apply to theaters themselves.\u003c/p>\n\u003cfigure id=\"attachment_80582\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/Parkway.jpg\">\u003cimg class=\"size-medium wp-image-80582\" title=\"Parkway\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/11/Parkway-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The New Parkway Theater is getting its permits in order. (Lauren Benichou/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 30, the \u003ca href=\"http://thenewparkway.com/index.html\">New Parkway Theater\u003c/a> hopes to replicate the success of the beloved Parkway Theater at the foot of Park Boulevard in Oakland where the audience could lounge on couches and loveseats while chugging beers or munching pizza. The original Parkway \u003ca href=\"http://www.kqed.org/a/kqednews/R903201730\">closed\u003c/a>in March of 2009.\u003c/p>\n\u003cp>The New Parkway is popping up in the sizzling Uptown neighborhood at 474 24\u003csup>th\u003c/sup> Street. Local businesses threw the theater a welcome-to-the-neighborhood party Oct. 24th.\u003c/p>\n\u003cp>\u003c!--more-->The theater is still under construction, but true to the spirit of the original Parkway, surrounding stores opened their spaces for screenings of movies like \u003ca href=\"http://www.imdb.com/title/tt0069704/\">“American Graffiti,”\u003c/a> \u003ca href=\"The%20Night%20of%20the%20Living%20Dead,%E2%80%9D\">“The Night of the Living Dead,”\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0162346/\">“Ghost World,”\u003c/a> selling empanadas, chocolate truffles and other treats… along with beer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as the management of the theater hoped, some old Parkway devotees gathered for the party. “I left a Giants' game to come here,” said Risa Nye, a former regular. “So, you know, that means a lot.”\u003c/p>\n\u003cp>The new owners are optimistic they can avoid the fate of the old Parkway’s owners, Kyle and Catherine Fischer, who \u003ca href=\"http://www.kqed.org/a/kqednews/R903201730\">shut the theater down\u003c/a> in 2009. According to the \u003ca href=\"http://www.eastbayexpress.com/gyrobase/picture-pub-pizza--poof/Content?oid=1370525&showFullText=true\">East Bay Express\u003c/a>, the old Parkway made money, but the Fischers became overextended after investing in a sister location in El Cerrito.\u003c/p>\n\u003cp>The New Parkway owners \u003ca href=\"http://thenewparkway.com/history.html\">wrote\u003c/a> this about the old ones:\u003c/p>\n\u003cblockquote>\u003cp>You can call the Fischers poor managers, you can call them overambitious, or you can say that they had the bad fortune of trying to expand in a contracting economy, but there is no denying that they built a wildly popular, incredibly unique, highly acclaimed, and financially successful theater in a part of Oakland where many doubters would have said it could never be done. We plan to follow in their footsteps.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Parkway II\u003c/strong>\u003c/p>\n\u003cp>After a failed attempt to reopen at the original location, J. Moses Ceaser, the managing partner of the New Parkway, connected with Matthew Iglehart, who owns a couple of properties in the Uptown area and wanted to rent one out as a theater. By December 2011, a new lease was signed.\u003c/p>\n\u003cp>Will “The Thrill” Viharo was the former programmer for the original Parkway and is now the publicist and event consultant. “It’s like the cancellation of Star Trek,” he says. “So there [are] all these ‘trekkies’ out there, or Parkway heads, and they’ve been wanting this show to come back. So this is kind of like Parkway the Next Generation.”\u003c/p>\n\u003cp>The new management of the theater will follow the same basic concept as its predecessor but plans improvements.\u003c/p>\n\u003cp>Managing partner J. Moses Ceaser says people complained about the quality of the food and the cleanliness of the original venue. “I think we can be kind of Parkway-plus in that regard,” he says.\u003c/p>\n\u003cp>But opening an independent theater is one thing. Keeping it open is another, especially with the New Parkway’s unusual format.\u003c/p>\n\u003cp>The Cerrito is now leased to \u003ca href=\"http://www.rialtocinemas.com/index.php\">Rialto Cinemas\u003c/a>, which also runs the only independent theater in Berkeley, the Elmwood. Like the Parkway, the Cerrito serves food and alcoholic beverages, but unlike the old one, the New Parkway runs new releases as well as older movies.\u003c/p>\n\u003cp>Ky Boyd, the proprietor of Rialto Cinemas, says running an independent theater is hard because a single venue can’t depend on a big company to bail it out if it hits rough times. “It’s a challenging business but a very rewarding one in ways other than finances,” he says.\u003c/p>\n\u003cp>It can be even more difficult to successfully run a theater if it only plays second-run movies, meaning new releases that can be 3 to 5 weeks old. “Movies are perishable products,” he says. “They don’t always do well in their second cycle.”\u003c/p>\n\u003cp>And serving restaurant quality food in a theater, as Boyd does in the Cerrito, requires extensive planning. “You have a much higher operating cost everyday that you have to plan for,” he says. “But it is always a good time to open a new theater especially when you are bringing entertainment and you are anchoring in a neighborhood that didn’t have a theater before.”\u003c/p>\n\u003cp>Parkwayheads won’t have to wait much longer for the grand opening and The New Parkway is already programming upcoming events like a Parkway Classic night. Every Thursday, the New Parkway will be screening movies that made the old Parkway famous with classic cult movies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stay tuned for “Revenge of the Parkway.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13711\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://www.flickr.com/photos/ianmcburnie/191240992/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13711\" title=\"redvic\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/redvic.jpg\" alt=\"\" width=\"250\" height=\"167\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Ian McBurnie\u003c/figcaption>\u003c/figure>\n\u003cp>We noticed a little action this week on our \u003ca href=\"http://ww2.kqed.org/news/2010/12/01/financial-problems-could-close-curtain-on-red-vic-movie-house/\">blog post\u003c/a> from last month about financial problems at the \u003ca href=\"http://www.redvicmoviehouse.com/\">Red Vic Movie House\u003c/a>, a Haight Street fixture since 1980, so I thought I’d check in again with Claudia Lehan, one of the theater co-op’s owners, on how things were going.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Still not so great, turns out. Lehan told me that cost-cutting has led to a slight fiscal improvement, but that more money is still going out than coming in.\u003c/p>\n\u003cp>“We’re still somewhat desperate,” she says. “We’re in less of a panic but the situation is pretty grim.”\u003c/p>\n\u003cp>Among other debts, the theater is in arrears to its landlord, whom Lehan called extremely generous, for several months rent. “We’re looking to stop the bleeding,” she said. “Major changes still need to happen.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lehan cited a recent donation by musician \u003ca href=\"http://jojofiles.blogspot.com/\">Jonathan Richman\u003c/a>, who dedicated a portion of the proceeds from a recent show, as one of the ways that the community has responded. She’s hopeful that two planned benefits, one with San Francisco writer \u003ca href=\"http://www.redvicmoviehouse.com/show.php?pageid=1049\">Rebecca Solnit\u003c/a> on Feb 24, will help keep moving images at the Vic a-flickerin’.\u003c/p>\n\u003cp>You may recall that another retro/art house, the Roxie on 16th Street in the Mission, has \u003ca href=\"http://articles.sfgate.com/2008-02-29/entertainment/17140697_1_new-college-roxie-banning\">survived\u003c/a> several \u003ca href=\"http://www.sfbg.com/36/27/art_roxie_cover.html\">near-death\u003c/a> experiences over the past decade.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of non-cineplex movie fare will certainly hope there’s a happy ending in the Red Vic’s future.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.redvicmoviehouse.com/show.php?pageid=1000\">Support the Red Vic\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://cinematreasures.org/theater/6979/\">Cinema Treasures: Red Vic Movie House\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.posthoc.com/redvic.htm\">Description of the Red Vic\u003c/a>\u003c/li>\n\u003c/ul>\n\n",
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"headline": "Red Vic Movie Theater Hanging On",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13711\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://www.flickr.com/photos/ianmcburnie/191240992/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13711\" title=\"redvic\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/redvic.jpg\" alt=\"\" width=\"250\" height=\"167\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Ian McBurnie\u003c/figcaption>\u003c/figure>\n\u003cp>We noticed a little action this week on our \u003ca href=\"http://ww2.kqed.org/news/2010/12/01/financial-problems-could-close-curtain-on-red-vic-movie-house/\">blog post\u003c/a> from last month about financial problems at the \u003ca href=\"http://www.redvicmoviehouse.com/\">Red Vic Movie House\u003c/a>, a Haight Street fixture since 1980, so I thought I’d check in again with Claudia Lehan, one of the theater co-op’s owners, on how things were going.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Still not so great, turns out. Lehan told me that cost-cutting has led to a slight fiscal improvement, but that more money is still going out than coming in.\u003c/p>\n\u003cp>“We’re still somewhat desperate,” she says. “We’re in less of a panic but the situation is pretty grim.”\u003c/p>\n\u003cp>Among other debts, the theater is in arrears to its landlord, whom Lehan called extremely generous, for several months rent. “We’re looking to stop the bleeding,” she said. “Major changes still need to happen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lehan cited a recent donation by musician \u003ca href=\"http://jojofiles.blogspot.com/\">Jonathan Richman\u003c/a>, who dedicated a portion of the proceeds from a recent show, as one of the ways that the community has responded. She’s hopeful that two planned benefits, one with San Francisco writer \u003ca href=\"http://www.redvicmoviehouse.com/show.php?pageid=1049\">Rebecca Solnit\u003c/a> on Feb 24, will help keep moving images at the Vic a-flickerin’.\u003c/p>\n\u003cp>You may recall that another retro/art house, the Roxie on 16th Street in the Mission, has \u003ca href=\"http://articles.sfgate.com/2008-02-29/entertainment/17140697_1_new-college-roxie-banning\">survived\u003c/a> several \u003ca href=\"http://www.sfbg.com/36/27/art_roxie_cover.html\">near-death\u003c/a> experiences over the past decade.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of non-cineplex movie fare will certainly hope there’s a happy ending in the Red Vic’s future.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.redvicmoviehouse.com/show.php?pageid=1000\">Support the Red Vic\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://cinematreasures.org/theater/6979/\">Cinema Treasures: Red Vic Movie House\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.posthoc.com/redvic.htm\">Description of the Red Vic\u003c/a>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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