The Getty spent $65m (and change) for this late Manet masterpiece, "Spring."

A  132-year-old vision of springtime has landed permanently at the Getty Museum, smack in the middle of this California autumn: "Spring (Jeanne Demarsy)," one of Impressionist painter Edouard Manet’s  last completed pictures.

Here's what Getty Director Timothy Potts had to say about the artist:

Manet was the ultimate painter’s painter: totally committed to his craft, solidly grounded in the history of painting and yet determined to carve out a new path for himself and for modern art. ... Alone of his contemporaries (the only one who comes near is Degas), Manet achieved this almost impossible balancing act, absorbing and channeling the achievements of the past into a radically new vision of what painting could be.

"Spring" somehow manages to be the evocation of youth itself and all its hopes. The subject is 16-year-old actress Jeanne Demarsy, just then seeing her stage career ascend at the same time Manet neared the end of his own career. (He died at age 51 in 1883,  soon after the painting went on display.) 

For most of the years since its creation, the picture has been in private hands. It was recently on loan to the National Gallery.

Getty Assistant Curator Scott Allan said that the Getty worked hard to acquire "Spring" and was lucky to get her. According to news reports, the Christie's auction price paid was an eyebrow-lifting $65 million — about double the top previous sale price for a Manet. "We don’t discuss the price," Potts said.

At the Getty, "Spring (Jeanne Demarsy)" hangs next to an early Manet in the museum's Impressionist-Post Impressionist gallery. It was intended to be one of the "Four Seasons" by the late-19th century French master. The series was never completed (although "Autumn" hangs in a museum in France).

(More seasoning: Manet's "Autumn." Museum of Fine Arts of Nancy, France)

Allan said that, unlike many of Manet's early works, "Spring" was intended to hang in the Salon, the French art establishment’s showplace of traditional painting, which had rejected innovators like the Impressionists for decades. That led most of the Impressionists to disdain the Salon. But Allan said Manet was extremely pleased that his late work was accepted there. 

Here's Potts again:

So popular was it that "Spring" became the subject of one of the first color photographs of a work of art. Its acquisition by the Getty brings to Los Angeles the most important — and beautiful! — painting by this artist left in private hands and one of the great masterpieces of late-19th-century art. 

The painting depicts a lovely teenager, dressed in the peak of 1880s fashion in a blue-on-white printed dress; a flowered, fringed hat; and a parasol balanced on her left shoulder. The background features white rhododendrons, barely in blossom.

Mlle. Demarsy stares off to the left, the demure image of a confident young woman at the earliest spring of her adulthood, with an entire creative life before her, already immortalized before the world by one of the century’s greatest artists.

But Manet was himself at the peak of his accomplishments,  just before his sudden demise.
 
"Spring" became one of Manet’s most popular works, deeply appreciated by art lovers young and old and by critics of both the old guard and the avant garde. It was his last picture to hang in the Salon. Manet’s powers would soon decline, and he devoted much of his last few months to watercolors, said Allan.

(Getty director Timothy Potts looks at the Getty's new painting, Manet's "Spring." Getty Museum)

This content is from Southern California Public Radio. View the original story at SCPR.org.

Frank Romero with one of his French paintings, in his home in the South of France. But every year, he and his wife Sharon throw a big studio sale for Christmas, and you're invited.; Credit: John Rabe

"Live! Life's a banquet and most poor suckers are starving to death!" - Auntie Mame.

Your calendar is filling up, but here are four holiday events you'll want to make room for:

Every year, pioneering Chicano artist Frank Romero and his wife Sharon throw a big studio sale that includes works by a wide group of artists, and a lot of food and drink. It's just as much a party as a sales event, and Frank and the other artists are always there to meet and greet. And now that the couple is spending more time at their home in France, it's a chance for their old friends to catch up with them, so who knows who you'll see from L.A.'s arts community.

RELATED: See Frank's new works - French scenes with an East LA flavor

The Romero Studio annual Christmas party and sale is Saturday, Dec. 6, 6-10pm; and Sunday, Dec. 7, 1-5pm, at Plaza de la Raza, Boathouse Gallery, 3540 North Mission Rd., LA CA 90031 (in Lincoln Park across from the DMV — which BTW is a very good DMV).

Then, on Sunday, Dec. 14, at 4:30pm,  it's the Advent Procession of Lessons and Carols, at St. James Episcopal Church, which a friend describes as "one of the truly beautiful choral events of the season," and the highlight of the Choir of St. James' season. It's free and it's at St. James' Episcopal Church in Koreatown (3903 Wilshire Blvd., Los Angeles 90010).
 

"Auntie Mame," the 1958 Rosalind Russell movie with more quotable quips than a weekend getaway with Oscar Wilde, has become something of a Christmas tradition. It's screening at the American Cinematheque's Egyptian Theatre on Wednesday, Dec. 17, at 7:30. As delightful as this movie is any day of the week on your TV at home, this is a film to be seen in 35mm with a theater full of people reacting to every bon mot and heart-touching moment.

GO INSIDE: The Disney Hall organ, "Hurricane Mama," turns 10

Last year, my husband and I blindly went to Disney Hall for the Holiday Organ Spectacular. We expected some music and a little fun. But it really was spectacular. It's back this year, on Friday, Dec. 19, with organist David Higgs leading the evening from the console of Hurricane Mama.

If you've never seen or heard the organ in person, this is a great evening because Higgs — a teacher as well as master organist — gives you a guided tour of every stop, and every mood the organ can produce, from cathedral-loud to country-church-quiet. At the end of the night, he breaks the audience into parts to sing "The Twelve Days of Christmas," and you may sing as loud as you like.

These are just a few curated selections, but they're just the tip of the iceberg in Southern California; please make your own holiday event recommendations in the comments below. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

One of 4,000 "The Far Side" panels Gary Larson drew over 14 years. The full collection is now out in paperback.; Credit: Gary Larson

Off-Ramp animation expert Charles Solomon reviews "The Complete Far Side: 1980-1994" by Gary Larson.

It’s hard to believe the last panel of Gary Larson’s wildly popular comic strip “The Far Side” ran 20 years ago: January 1, 1995. The comics page of the LA Times (and many other papers) still feels empty without it.

RELATED: Charles Solomon interviews artists responsible for look of "Big Hero 6"

During its 14-year run, "The Far Side" brought a new style of humor to newspaper comics that was weird, outré and hilarious. The strip became an international phenomenon, appearing in over 1,900 newspapers worldwide. Larson won both the National Cartoonists' Society Reuben Award for Outstanding Cartoonist of the Year and the Best Syndicated Panel Award. An exhibit of original artwork from the strip broke attendance records at natural history museums in San Francisco, Denver and here in L.A. Fans bought tens of millions of "Far Side" books and calendars.

Much of the humor in “The Far Side” derived from Larson's seemingly effortless juxtaposition of the mundane and bizarre. When a bug-housewife declares "I'm leaving you, Charles...and I'm taking the grubs with me," it's the utter normalcy of the scene that makes it so funny. Mrs. Bug wears cats eye glasses, while Mr. Bug reads his newspaper in an easy chair with a doily on the back.

Or, a mummy sits an office waiting room reading a magazine while a secretary says into the intercom, “Mr. Bailey? There’s a gentlemen here who claims an ancestor of your once defiled his crypt, and now you’re the last remaining Bailey and … oh, something about a curse. Should I send him in?”

"The Complete Far Side" contains every strip ever syndicated: more than 4,000 panels. It should probably come with a warning label, "Caution: reading this book may result in hyperventilation from uncontrollable laughter." Except for a few references to Leona Helmsley or other now-forgotten figures, Larson’s humor remains as offbeat and funny as it was when the strips were first printed.

Andrews and McMeel initially released this collection in 2003 in two hardbound volumes that weighed close to 10 pounds apiece. You needed a sturdy table to read them. The three volumes in the paperback re-issue weigh in around three pounds and can be held comfortably in the lap for a while.

Because “The Far Side” ended two decades ago, many people under 30 don’t know it. The reprinted collection offers geezers (35 or older) a chance to give a present that should delight to that impossible-to-shop-for son, daughter, niece or nephew. How often does an older adult get a chance to appear cool at Christmas or Hanuka? 

And if that ingrate kid doesn’t appreciate it, "The Complete Far Side" also makes an excellent self-indulgence.

Charles Solomon lends his animatio expertise to Off-Ramp and Filmweek on Airtalk, and has just been awarded the Annie's (The International Animated Film Society) June Foray Award, "for his significant and benevolent or charitable impact on the art and industry of animation." Congratulations, Charles!

This content is from Southern California Public Radio. View the original story at SCPR.org.

"Sailor Moon" cosplayers at Anime Revloution 2014 in Vancouver, Canada.; Credit: GoToVan/Flickr Creative Commons

Japanese animation — anime — offers very different visions from its American counterparts, and it's extremely popular with college and high school students. They can be extremely difficult for well-meaning parents, uncles and aunts to shop for, so here, in no particular order, are some titles that can transform an adult’s image from clueless doofus to knowing friend. Plus, we have a few suggestions for younger children (who can also be a pain to shop for).

Cardcaptor Sakura: Complete Collection
NIS America: $249.99; 9 discs, Blu-ray, plus book
When cheerful fourth-grader Sakura Kinamoto opens an odd book in her father's study, strange lights fly out. Kerberos, who looks like a plushie of the lion on the book's cover, explains that she's inadvertently released a deck of magical cards. Despite her protests that’s she just an ordinary little girl, Kero insists Sakura must become a Cardcaptor and retrieve them before they work mischief on the world. Many American series talk about empowering girls — in this one, the viewer sees Sakura grow stronger and more confident as she learns to master the magical cards.

Cowboy Bebop: The Complete Series
Funimation: $59.98; Blu-ray, 4 discs
The sci-fi action series "Cowboy Bebop" redefined cool in animation when it debuted in 1998. Twenty-first-century bounty hunter Spike Spiegel is an anti-hero in the tradition of '40s film noir detectives. Spike is a tough guy; a crack shot, an ace pilot and a skilled martial artist. But his cynical exterior conceals a never-healed wound left by the woman he loved and lost. Seventeen years later, "Cowboy Bebop" is so popular that two special editions of the series for holiday gifting have already sold out (!). But it’s available on DVD and Blu-ray.

Dragon Ball Z: Battle of the Gods
Funimation: $34.98; DVD/Blu-ray combo pack; 3 discs
The first new "Dragon Ball Z" animation in 17 years, "Battle of the Gods" (2013) proved how popular the franchise still is, selling over 1 million tickets in just six days in Japan. The filmmakers keep the animation flat, limited and hand-drawn, so "Battle of the Gods" looks like the classic TV series and delivers the mixture of slapstick, friendship and over-the-top battles Dragon Ball fans remember and want to see again — especially guys in their 20s who grew up watching it.

Naruto Shippuden: Road to Ninja: The Movie 6
VIZ: $29.99 DVD/Blu-ray combo; 2 discs
The title hero of the long-running "Naruto" and "Naruto Shippuden" series is a come-from-behind hero whose world centers on magical ninja techniques, outrageous fights, slapstick, friendship and ramen. "The Road to Ninja" incorporates these well-loved elements, but stresses the lonely, compelling side of the title character. Audiences would quickly weary of Naruto if he were just a knuckleheaded prankster. His dedication to overcoming his weaknesses and achieving his goals makes him heroic, as well as comic — and one of the most popular animated characters of the new millennium.

(A scene from "Ranma 1/2," an anime series about a 16-year-old boy who's transformed into a girl whenever he's splashed with water.)

Ranma 1/2: Sets 1, 2, 3 & 4
VIZ: $54.97 each, Blu-ray; $44.82, DVD: 3 discs
Because he once fell into a cursed spring, black-haired high school martial artist Ranma Saotome turns into a buxom, red-haired girl when he’s hit with cold water. (Hot water restores his proper gender.) Ranma and his father Genma are freeloaders in the home of Suon Tendo. To ensure the continuation of the family dojo, the fathers have decided that the loutish Ranma and Suon’s hot-tempered daughter Akane are engaged. "Ranma 1/2"  supplies the slapstick insanity animation can provide in abundance. The filmmakers carefully sneak in just enough grudging affection between Ranma and Akane to keep the series from feeling mean-spirited.

Pokémon: Indigo League (Season 1): Complete Collection
VIZ: $54.98  9 discs          
"Pokémon" is no longer the trend du jour it was 20 years ago, when it swept America. But the games and the animated series remain popular. Although it's product-based and sometimes cloying, "Pokémon" is an agreeable show for elementary school children that stresses friendship, perseverance, fair play and good sportsmanship. These early adventures take the main characters through the first part of the game in its original Red/Blue versions. With his friends Misty and Brock, aspiring master Pokémon trainer Ash Ketchum defeats other trainers, captures wild Pokémon and outwits the inept comic villains of Team Rocket.

Princess Nine Complete Series
Bayview Entertainment: $39.99 DVD
Ryo Hayakawa inherited her late father’s talent as a pitcher, but she works as a waitress in her mother’s tiny cafe. Determined to overcome sexist opposition and create a girls’ baseball team that can compete in the national championships, Ms. Himuro, the head of prestigious Kisaragi High, gives Ryo a scholarship. She must recruit players and build an effective team. Ryo is a very likable character — she’s proud of her abilities, but surprised at where they take her. "Princess Nine" ranks among the better girls’ series of recent years, with characters who are strong, capable individuals but who exhibit human weaknesses.

Short Peace
Sentai Filmworks: $29.98 Blu-ray
For "Short Peace," Katsuhiro Otomo ("Akira") and three other directors made short films in personal styles they felt suited the stories they’d chosen, two of them evoking the look of 19th century woodblock prints. In Shuhei Morita’s Oscar-nominated "Possessions," a wandering tinkerer seeks refuge from a storm in a remote forest shrine. Inside, he  must pacify umbrellas, bowls and other household objects that resent being thrown away after years of devoted service. Otomo’s "Combustible" focuses on childhood sweethearts Owaka and Matsukichi, the son and daughter of wealthy merchants in 18th century Edo (Tokyo). The climactic blaze that brings the star-crossed lovers together — only to separate them forever — is stunningly beautiful.

(Oscar-winning Japanese animator and film director Hayao Miyazaki walks past an advertisement following the release of his film "Ponyo.")

No figure in contemporary animation is more admired than Hayao Miyazaki. Walt Disney Home Entertainment has just released to DVD/Blu-ray 2-disc sets of three of his major films at $26.95 each:

Kiki's Delivery Service
A charming coming-of-age story, "Kiki's Delivery Service" (1989) follows the very human ups and downs of an adolescent witch who must leave her family for a new city where she’ll discover her special talent. Kiki copes believably with tight budgets, self-doubt and the awkward attentions of a flight-obsessed boy. The late comedian Phil Hartman gave his final performance as Gigi, the sardonic black cat who provides a running commentary on Kiki's misadventures.

Princess Mononoke
The ecologically-themed "Princess Mononoke" (1999) was the first of Miyazaki’s features to receive a major theatrical release in the U.S. The problems posed by rampant development and consumerism figure prominently in the film. “If you want to discuss any aspect of the problems we face as humans, you cannot ignore ecology,'' he said. Miyazaki juxtaposes visually and emotionally intense scenes of the characters, with quiet images of clouds, streams and forests. When rain begins to fall, he lingers on a stone that darkens as it absorbs moisture.

(A screenshot from Japanese director and animator Hayao Miyazaki's "Princess Mononoke.")

The Wind Rises
In "The Wind Rises" (2013), Miyazaki carries the viewer through rapturously beautiful fantasies, hard-won pleasures and poignant sorrows in this biopic of Jiro Horikoshi, who designed the A6M Zero Fighter for Mitsubishi during World War II. "The Wind Rises" isn’t focused on speed — Miyazaki concentrates on the magic of flight. Instead of launching the viewers on a CG rollercoaster ride, he enables them to savor the magic of escaping gravity in a way that approaches visual poetry. "The Wind Rises" may be Miyazaki’s last feature, but the director is still clearly at the height of his powers; although premature, it’s a glorious exit.

Death Note: The Complete Series

Light Yagami, the hero of the dark fantasy-adventure "Death Note" (2006) is brilliant, alienated— and murderous. He found the Death Note: the notebook of a Shinigami (god of death). If anyone writes the name of a human in the book, that person dies within minutes. Light launches a vigilante campaign to rid the world of criminals and create his vision of a perfect society. But the unexplained string of deaths attracts the attention of the police, who turn the case over to the secretive master crime solver known only as L. Although it begins slowly, "Death Note" gets better with each installment, as the stakes grow higher in the macabre duel of wits between Light and L.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Rob Marshall is either the bravest director in Hollywood or the most foolhardy. Three of his five theatrical films — the musicals "Chicago," "Nine" and now "Into the Woods" — don't just invite comparison to the eccentric genius of other artists, they insist on it.

Originally a Bob Fosse stage project, "Chicago" was so imbued with Fosse's vitriolic spirit that even in Marshall's more straightforward hands the movie version felt like the missing piece in a triptych with Fosse's "Cabaret" and "All That Jazz."

"Nine" is the musical created from Fellini's masterpiece "8 1/2."

(Marcello Mastroianni in Fellini's "8 1/2")

Odd enough that someone thought Fellini's intimate but epic fugue on his own creative doubts and sexual fantasies should be adapted by others for Broadway; stranger still to re-import the hybrid back to the screen, in the workmanlike form Marshall gave to it.

And now we have "Into the Woods," a film placing Marshall in the long line of moviemakers defeated by Sondheim's difficult musical brilliance and penchant for challenging material. It's distinguished company, reaching back all the way to "A Hard Day's Night" director Richard Lester's re-invention of "A Funny Thing Happened (On the Way to the Forum)" as a kind of psychedelic Keystone Cops movie, and forward to Tim Burton's more adept but still wrong-headed Murnau-meets-Hammer-Horror approach to "Sweeney Todd."

Even director Hal Prince, the principal theatrical collaborator during Sondheim's most fertile and formative period, made an absolute hash of their shared stage success "A Little Night Music" in a film version later disavowed by both men, and mostly remembered for Elizabeth Taylor's chirpy and discernibly flat rendition of "Send in the Clowns."

Liz singing "Send in the Flat Clowns"

It's just possible that the real problem is that Sondheim's self-reflexive and deconstructive impulse (his musicals are almost always and to varying degrees commentaries on the Musical itself) makes his projects unfit for screen adaptation. In movies, we miss the artifice of the proscenium, the sweat on the actor's brow. But if any of Sondheim's late-period projects held out the hope of a successful movie version it was surely "Into the Woods," a droll recombination of the fairytale form's literary DNA into something like Sondheim's masterpiece "Company," set in a realm of magic beanstalks and slippers made of glass.

The characters are straight out of the Disney pantheon (or "Shrek"): Cinderella meets Rapunzel meets Red Riding Hood meets Jack and his Beanstalk, with a generic Wicked Witch, a couple of not so charming Prince Charmings, plus a peasant couple thrown in. But the issues at stake — marital fidelity, raising children, the fear of aging and death — are complicated, and filled with gray tones which Sondheim and librettist James Lapine masterfully etched across the fairytale's Manichean black and white.

What seemed audacious when Sondheim and Lapine conceived it in 1987 ought to fit comfortably into the era of "Sleepy Hollow" and "Maleficent," but in Marshall's hands, it does not. The good news is that though populated by what old school TV shows used to call a Galaxy of Today's Brightest Stars (Anna Kendrick as an appealingly unglamorous Cinderella; Chris Pine as the nymphomaniac Prince who stalks her; Meryl Streep quite moving in the Wicked Witch role made famous on Broadway by Bernadette Peters) this is mostly a very well-sung movie. There have been controversial excisions and revisions (enabled by Lapine, who is Marshall's screenwriter), but as an introduction to one of Sondheim's more beloved scores, "Into the Woods" makes for a solid musical primer.

WATCH: The "Into the Woods" trailer

But though Marshall has taken a lot of flack for daring to cut out characters (most notably the stage production's Narrator, who served as a kind of Greek Chorus in the original) and for softening plot points (Rapunzel died onstage), the big problem is that Marshall isn't nearly ruthless enough in rethinking "Into the Woods" as an honest-to-God movie. There are many moments (Johnny Depp ending a scene with a stagy howl at the Moon that virtually screams "and... fade out!;" the unseen death of a major character) where Marshall embraces the limitations of stagecraft when something bigger and more cinematic is needed, as if afraid to mar the pedigree of Broadway with Hollywood's debased visual stamp.

"Giants in the Sky," Jack's coming-of-age number, where he describes finding manhood in the sexual and physical dangers available above the clouds in the Giant's Castle, is a showstopper onstage, where we're willing to accept rhetoric in place of physical immediacy. Onscreen, it's simply frustrating for a character to suddenly appear and tell us he's just had the adventure of a lifetime, and that it's too bad we missed it.

The Woods themselves — both character and symbol onstage, a kind of living maze representing moral confusion — are lush here and geographically nondescript, like a particularly plush unit set, done up in a generic Lloyd Webber-meets-Disney house style.

Perhaps most unfortunately of all, Marshall seems constitutionally incapable of conveying the pervasive satiric impulse at the heart of the Sondheim/Lapine original, which could have been called "What Happens After Happily Ever After." Without ironic distancing, the film's second half, where the characters betray each other in decidedly contemporary sexual and self-interested terms, plays as non-sequitur.

It's possible to imagine a more idiosyncratic movie director who both understands and embraces the arsenal of cinematic effects available through editing, camera movement and design transforming "Into the Woods" into a rousing cinematic triumph — the young Terry Gilliam comes to mind. But Hollywood doesn't really embrace its daring cranks and visionaries very often, as Gilliam's difficult career demonstrates. Whenever possible, today's studios like to import genius at a safe remove, and then hand it off to a reliable journeyman who won't make waves or piss off the suits. The limitations of that approach are visible in every scene of "Into the Woods," and perhaps they explain its failure best of all. It's one thing not to be up to the task of adapting a work of odd brilliance. It's something else again to not even take it on.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Benedict Cumberbatch and Sophie Hunter arrive at the 26th Annual Palm Springs International Film Festival Film Festival Awards Gala at Palm Springs Convention Center on January 3, 2015 in Palm Springs, California.; Credit: Frazer Harrison/Getty Images

The 26th Annual Palm Springs International Film Festival opened this weekend, distinguished by robust audience turnouts, megawatt celebrity visitations and constant reminders of the unique space PSIFF occupies and the specialized services it provides to Hollywood.

Falling as it does just before Sundance and just after the Golden Globes nominations, Palm Springs is as much a part of the awards season calendar as it is the festival circuit. Big ticket screenings are presented with all the photo op pomp that would greet a major world premiere at, say, the Los Angeles Film Festival, but in many cases this is to build buzz for (or to re-energize) films that are already in theaters.

At Sundance or Tribeca, the suspense is usually about whether the films in competition will get good reviews and/or find distribution. At Palm Springs, especially on opening weekend, it's more about whether you'll run into Brad Pitt in the guest and industry suite at the Renaissance Hotel.

At the PSIFF awards gala, Golden Globe nominee Reese Witherspoon took home the oddly gender specific Chairman's Award for her performance in "Wild."

J.K. Simmons received something called a Spotlight Award for his superb turn as the menacing music instructor in "Whiplash."

David Oyelowo grabbed the "Breakthrough Performance Award (Male)" for depicting Martin Luther King Jr. in "Selma." Brad Pitt's sing-along presentation of Oyelowo's award became the meme for much of the post-event press coverage.

Sing-a-long with Brad Pitt

Rosamund Pike got the "Breakthrough Performance Award (Female)" for "Gone Girl."

Michael Keaton presented the Director of the Year award to his "Birdman" collaborator Alejandro G. Iñárritu.

And the Palm Spring Convention Center stage was home to two young British heartthrobs who are in Oscar contention this year for period biopics about scientific genius: Eddie Redmayne, who grabbed the Desert Palm Achievement Award (Male) for portraying ALS sufferer Stephen Hawking in "The Theory of Everything," and Benedict Cumberbatch, who split glory with the cast of the Alan Turing biography "The Imitation Game" as co-winner of the Ensemble Performance Award.

The Desert Palm Achievement Award (Female) went to Julianne Moore in the Alzheimer's drama "Still Alice."

Every single one of the movies honored is in theaters now, almost all of them in the midst of slowly expanding release patterns as they mount their long slow march toward the Academy Awards.

The generous "one award per movie" policy and the care with which PSIFF avoids alienating celebrity affections by giving out trophies with such blunt and unequivocal titles as "Best Actress" or "Best Actor" mark the PSIFF awards gala as a psuedo-event: a kind of open-armed Hollywood team huddle before things get grim and serious with the Oscar announcements at the end of the month.

Even an Oscar-worthy oddity like Richard Linklater's "Boyhood" managed to find a place in the parade, with Linklater, who directed Shirley MacLaine in the 2010 black comedy "Bernie," presenting the 80-year-old actress with the Sonny Bono Visionary Award, essentially for career achievement.

Meanwhile, the festival's generous supply of indie, studio and foreign movies churned away in various local movie theaters, a really quite remarkable cluster of buzzworthy pictures, almost all of which have played elsewhere, including at Sundance and Toronto and Tribeca, and in many cases at your local multiplex.

This programming approach can be a double-edged sword. Director Ava DuVernay, whose civil rights-era epic "Selma" opened the festival, was unable to stay for her full run of Palm Springs personal appearances because her movie has been out long enough to spark a rather bitter controversy over its depiction of President Lyndon Johnson. DuVernay abandoned a Palm Springs Q and A in order to defend her film on Charlie Rose. 

While some audience members were bitterly disappointed at missing the chance to hear one of this year's golden ones, I'm sure the PSIFF Board of Governors understood completely. This time of year, you have to play the long game, and, in the words of the civil rights anthem, "keep your eyes on the prize."

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday to Off-Ramp for his report on the festival.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Carla Gugino, Matthew Lillard and Sir Patrick Stewart pose at the "Match" screening during the Palm Springs International Film Festival on January 3, 2015 in Palm Springs, California. ; Credit: Chelsea Lauren/Getty Images for PSIFF

Is there a happier star in Hollywood than Patrick Stewart?

Certainly no one seems to be having more fun than the onetime Star Trek captain and current (and seemingly permanent) X-Man. And why shouldn't Sir Patrick be pleased with himself? He really has got it all: a thriving stage profile in both New York and London, the unconditional love of a vast and loyal fan base, and a film career that oscillates freely between franchise blockbusters and the small, character-driven chamber pieces Stewart so clearly relishes.

"Match" is about as small a movie as Stewart has ever appeared in: a well-intentioned three-character film studded with very funny dialogue courtesy of writer/director Stephen Belber, upon whose play "Match" is based.

Stewart plays an aging gay dance instructor named Tobi Powell, who may or may not have sired a child back in the swinging 60s – an era movies now take to have been 10 years of uninterrupted orgy punctuated by Beatles records and gunshots aimed at the Kennedy brothers.

As the saying goes, "If you can remember the '60s, you weren't there." Stewart's Tobi Powell was vibrantly there at the time, so it's perhaps natural that he can't seem to recall whether or not one of his rare couplings with a female partner might have had some unintended consequences.

Mincing slightly and speaking in an accent that sounds Midwestern by way of Wales, Stewart is an absolute blast to watch. His genuine (and usually underutilized) flair for comedy is roguishly on display, allowing "Match" to shift between pathos and farce with an assurance born more of the performer's bravado than the emotional contours of Belber's somewhat overeager text.

Though allegedly a bit of a shut-in, Tobi is a minor masterpiece of a lost and exuberant art form: the exaggerated star turn. It's unsurprising Frank Langella got a Tony nomination for playing him on Broadway a decade ago, and at least a bit unexpected that Stewart has gone completely unnoticed this awards season, even by the nomination-happy Golden Globes.

Belber's best writing is mostly his comedic stuff. One aria comparing cunnilingus to knitting may just be the best scene of its type since Meg Ryan faked an orgasm in "When Harry Met Sally" a quarter century ago.

Solid and believable supporting turns from Carla Gugino and Matthew Lillard add to the fun until Belber's script bogs down in the third act into the kind of paint-by-numbers epiphany shtick even TV has given up on at this point.

WATCH: The official trailer for "Match," starring Patrick Stewart

Everybody cries. Everybody changes. Everybody yawns.  Or I did anyway.

Still, go see this movie — or better yet, watch it on your phone, since it's shot almost entirely in close up — to see a grand and gracefully aging actor strut his stuff with contagious delight. You will definitely laugh, and, God, does this movie hope you'll also cry.

But if you do weep, don't be surprised if, like Tobi himself, you hate yourself in the morning.

Off-Ramp contributor R. H. Greene is covering the 26th Annual Palm Springs International Film Festival, where he recently saw the new comedy "Match" starring Patrick Stewart. "Match" comes to theaters and video-on-demand on Jan. 14.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A scene from Tomislav Mrisic's "Cowboys (Kauboji)," which screened at the Palm Springs Film Festival.; Credit: Kino films

It has escaped the average filmgoer's notice, but Eastern Europe has been in the midst of a cinematic renaissance for quite a while now. A few individual titles and filmmakers have bubbled to the surface in U.S. cinemas, including Danis Toanovic's Serbian antiwar satire "No Man's Land," which won an Oscar in 2001, and Cristian Mungiu's Romanian abortion drama "4 Months, 3 Weeks, and 2 Days," which nabbed the Palme d'Or at Cannes 2007.

Those are both great movies, but they are also the small tip of a very large iceberg. This year, Estonian filmmaker Zaza Urushadze's "Tangerines" — a humanist drama about the Georgian civil war of 1992 — is a leading contender for a foreign film Oscar.

As of now, its main competitor for the trophy would seem to be the Polish film "Ida" by Pawel Pawlikowski, which has taken most of the top critics prizes for foreign film this awards season. And who has heard of Radu Jude, the witty Romanian director of "The Happiest Girl in the World," or Kamen Kalev, Bulgaria's great hope for the cinematic future? Among so many others.

A sort of "Waiting for Guffman" with a Croat twist, the delightful Croatian Oscar entry "Cowboys (Kauboji)" isn't in the same league as the best Eastern Europe has to offer, and in an odd way this is one of its strengths.

Tomislav Mrisic's film utterly lacks pretension, which is not to say that it has no point to make. If there's an Eastern European precedent for "Cowboys'" assured mix of satire, drama and farce, it's probably the "Loves of a Blonde"-era Milos Forman.

Mrisic shares with Forman an acute eye for the foibles of small town bureaucracy and a soft humanism that simultaneously allows "Cowboys" to embrace its rag-tag ensemble of eccentrics and to spoof them mercilessly.

(A screen shot from Croation Oscar entry "Cowboys (Kauboji)")

The plot sees Sasa (Sasa Anlokovic), a failed and hangdog theater director with health problems, returning to his small and economically desolate Croatian town, where he is enlisted by an old friend-turned-local-bureaucrat to bring Big City "culture" to the sticks.

Aware that his lung cancer may have fallen out of remission and that time may be running out for him, Sasa sets about the task of creating what may be his last opus with the clay available to hand: a half dozen unskilled, uneducated and, in most cases, un-hygienic misfits, culled from the dregs of the town. They decide to create a Western stageplay based on their shared love of "Stagecoach," "High Noon" and John Wayne. Something decidedly unlike "Stagecoach" is the result.

There are titters and belly laughs abounding in "Cowboys" — a film that may actually be even funnier to an American audience than it is in Croatia, given Mrisic's deft mangling of the worn-out genre cliches of old school horse opera.

The performances are all solid and specific: This is no undifferentiated cluster of cliche yahoos, but rather a broadly drawn ensemble, in which each character has a specific logic and an unspoken need he or she is trying to fill.

WATCH the "Cowboys" trailer in the original Croatian

Mrisic finds much to mock in his small town provincials, but also much to celebrate. "Cowboys" is a smart film that still sees goodness everywhere it looks, which makes it a refreshing change not just from the American school of rote affirmation comedy but also from the relentless bleakness we associate with so much European fare.

For all the farce on hand, "Cowboys" is in the end a covertly passionate defense of the creative act: Its imperishability and its importance for its own sake, excluding aesthetic considerations. It is also a plea for that hoary old chestnut, the healing power of laughter. While that may read like a cliche, with "Cowboys," Mrisic's point is made.

Off-Ramp contributor R.H. Greene is covering the 26th Annual Palm Springs International Film Festival and will be posting regularly from there.

This content is from Southern California Public Radio. View the original story at SCPR.org.

I got the word this week from The Crest of Westwood that they'll be streaming coverage of the Golden Globes at The Crest on Sunday.

It's free and open to the public; doors open at 4:30 and the event starts at 5pm.

The Crest's Virginia Chavez writes, "We're encouraging formal attire, but it's not required for entrance."

But Off-Ramp says, "Phooey! Dress up. It's what classy people do." Like this stunning couple:

(Anne Knudsen/LA Public Library Herald-Examiner collection)

The caption of this 1985 photo reads, "David Hasselhoff in a burgundy-and-black striped tuxedo kept pace with wife Catherine Hickland's high fashion style: Ellene Warren's silk shoulder-beaded jacket, silk jacquard pants and matching evening bra. Hasselhoff and Hickland attended the Emmy Awards at the Pasadena Civic Auditorium.

There's such a thing as an "evening bra?" I don't think so.

The Crest - 1262 Westwood Blvd. LA, CA 90024 - (323) 553 - 3500

This content is from Southern California Public Radio. View the original story at SCPR.org.

Andrew J. West stars in Anna Mastro's "Walter"; Credit: "Walter"

It's always dicey to characterize a major film festival based on the movies you personally see there, because no matter how diligent you try to be, your impression will always be statistically anecdotal.

I'll see perhaps 10 percent of the films at this year's Palm Springs International Film Festival by the time they roll up the red carpets for the final time, added to the 25 or so I'd watched before I got here, owing to the festival's unique programming policies.

Not bad considering there are 190 movies being screened. So I think I've got the feel of things here. I wouldn't want my doctor to diagnose me based on a test with a 35 to 40 percent chance of accuracy, but I'm not a doctor. Instead of "Do no harm," I quote Spencer Tracy to myself. He said the secret to the creative process is to "just look 'em in the eye and tell 'em the truth."

And the truth is, with the exception of a couple of documentaries and a horror movie, virtually every film I've seen at Palm Springs so far shared some obvious characteristics: the Palm Springs International Film Festival loves it some poignancy and affirmation.

I've already commented on "Match," the Patrick Stewart acting showcase, and "Cowboys," a very funny Croatian comedy with cross-currents of seriousness. I may comment later about "Today," Iran's Oscar submission. (It's terrific by the way, a deeply affecting story about a burnt out cab driver who gets yanked into the world of a battered, unwed mother who steps into his cab.)

(Still from "Today” (Emrooz) by Iranian filmmaker Reza Mirkarimi)

I also saw an Anne Hathaway passion project called "Song One" here. I'm not going to write about it because I'm not in the mood to stomp on somebody else's butterfly. Plus the dramedy "1001 Grams" by the splendiferous-ly named Norwegian Bent Hamer, whose deadpan satire is routinely compared to Jacques Tati.

WATCH the official trailer for "1001 Grams," which includes some foreign languages

At their best, these are all movies that want to move the audience to tears before bouncing a ray of hope off the screen at them. At their worst, these movies are about pain in the same way Novocain is. They acknowledge its reality, in order to neutralize it.

Filmmaker Anna Mastro's debut film "Walter" (one of the Palm Springs premieres) fits what seems to be the festival's programming model, too, and is, I think, a really quite appealing little indie film, with the by now familiar mildly magical realist bent.

It's is a story about grief, though one with a screwball premise so that it doesn't quite present that way at first. Walter (portrayed with charisma and nuance by Andrew J. West) is a 20-something slacker, but a very uptight one, with a soldier's commitment to dress and routine.

He still lives with mom (Virginia Madsen, now shifting toward the character actress portion of her career with ease and grace) and has a job one rung above fast food worker on the ladder of success: He's a ticket taker at the local multiplex.

But what the world surely sees as failure, Walter knows to be his cover for a far more important vocation. Walter's father died when he was just 10 years old; ever since the funeral, Walter has realized something we don't: His real job in life is to decide where people go after they die.

His snap judgments secretly send people to heaven or hell ... until a dead guy from Walter's past shows up and demands that Walter determine his fate, and then all hell breaks loose.

It's an odd premise, bordering on the labored, but Mastro and her extremely appealing cast pull it off, in part by wearing their influences on their sleeves. The fingerprints of Wes Anderson are all over this picture, especially in terms of the way shots are framed and music is used, and I was able to identify the pivotal contribution of "Beasts of the Southern Wild" co-composer Dan Romer by ear, long before I noticed his screen credit.

I suppose that's supposed to be a damning criticism of a first-timer, but I don't see it that way. Tarantino aped Scorsese for years and virtually remade a minor Hong Kong gangster picture when he debuted with "Reservoir Dogs."

Spielberg acknowledges his debt to David Lean. Hitchcock's apprenticeship at Germany's UFA film studio resulted in a lifelong visual and thematic debt to the great Expressionist master Fritz Lang.

The question is, what do you do with your influences, how do you make them your own? And Mastro — who has a real gift for casting, pacing a scene and maneuvering her actors easily between farce and seriousness — has her own talents. She understands how Anderson's visual syntax has become a cinematic shorthand for quirk, and she deploys it to that effect, then tells the story at hand.

There are some issues with that story, though. There's a girl in concessions (Leven Rambin) Walter likes, and there's a bully at work. For all its surface oddity, the mechanical underpinnings of "Walter" frequently feel like they belong in an "American Pie" sequel.

And yet this movie won me over. I liked its faith in the movie palace as a place that still vibrates with the marvelous. I found a dream sequence, where Rambin undresses to camera while sprawled on a rich yellow bed of movie house popcorn hilarious and deeply expressive.

But I think my affection for this picture is mostly centered on Mastro and her cast, which includes a standout performance by Justin Kirk as a very grounded ghost and a broad but successful cameo from William H. Macy as Walter's psychiatrist. They're all groping toward something rather grim and real about loss, while doing their best to serve up some laughs and wonder along the way.

It touched me, because it feels kind of wise.

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday at noon to Off-Ramp, when he'll interview Chaz Ebert about her late husband Roger Ebert's contributions to the film festival circuit.

This content is from Southern California Public Radio. View the original story at SCPR.org.

At the corner of Glendale and Glenfeliz, Jeff Harmes created an art garden completely from scratch. ; Credit: Alana Rinicella

On the median on the Atwater Village side of the Hyperion bridge, Jeff Harmes built a garden. It's an act he calls "taking nothing and making it into something that everyone can get something out of, that can inspire everyone."

Having lived on the streets for 30 years, Jeff says grew to hate litter. He used to sweep street gutters with a piece of cardboard and remove trash packed into the forks of trees. He thought of them as small acts that would go mostly unnoticed.

On a whim last spring, he started tilling the median — or "the island," as he likes to call it ... although "oasis" is more like it, now. He made rock sculptures from stones he scrounged out of the L.A. River. In celebration of spring, he made a peace sign out of flowers. 

He says he doesn't know much about gardening or landscaping. He learns as he goes and looks to commuters for suggestions. In the absence of running water, he relies on rainfall.

Vibrant succulents sit next to kitschy items like gnomes and plastic flamingos. Intricate formations of seashells and stones contrast starkly against the neatly patted dirt. A young girl even donated her seashell collection for the peace sign. 

Recently, though, a vandal smashed the peace sign and wrecked Jeff's plants, including his squash crop. With help from the neighborhood, Jeff has been able to rebuild the garden. New plants have sprouted and the stonework has been repaired.

Jeff says his new goal with the garden is for people to draw something positive from it. "I want hate to be transferred into something beautiful," he said. Moving forward, he hopes to expand it down the island. 

(Note: This post has been edited. The original called it a "meridian," which is an invisible geographic line. "Median" is correct.)

This content is from Southern California Public Radio. View the original story at SCPR.org.

There are still a couple dozen tickets left for one of the most interestingly-cast performances of H.G. Wells, Orson Welles and Howard Koch's "War of the Worlds." On Saturday, Jan. 17,  generations of Star Trek actors will take on the world's most famous radio show.

The cast — directed by Jim Fall — features: René Auberjonois (“Star Trek: Deep Space Nine”), Michael Dorn (“Star Trek: TNG”), Dean Haglund (“The X-Files”), Walter Koenig ("Star Trek"), Linda Park ("Star Trek: Enterprise"), Jason Ritter (“The Event”), Tim Russ (“Star Trek: Voyager”), Armin Shimerman (“Star Trek: Deep Space Nine”) and Wil Wheaton, playing... Orson Welles.

The performance is a fundraiser for Sci-Fest LA, the new annual science fiction play festival, so tickets aren't cheap — but they're scarce, and this looks like a memorable night.

KPCC and "Off-Ramp" celebrated the 75th anniversary of the broadcast last year by distributing the original 1938 performance, and a new documentary, internationally... introduced by George Takei, another original Trek actor you might have heard of.

War of the Worlds: Sat., Jan. 17,  8 PM; The Acme Theatre, 135 North La Brea Ave. LA CA 90036

This content is from Southern California Public Radio. View the original story at SCPR.org.

An aerial photograph of the San Gabriel Mountains in Southern California.; Credit: Bruce Perry, Department of Geological Sciences, CSU Long Beach; Courtesy National Park Service

A friend who has one of those cabins in the San Gabriels that you have to ride a mule into sent Off-Ramp a note about an event for fans of L.A.'s mountains ... which is pretty much everyone:

"The Sierra Madre Historical Preservation Society and First Water Design present the finest assembly of experts of our magnificent mountains and their impact on our history, culture, and way of life." It's a long list of historians, authors, and others who've spent their lives studying and writing about the mountains.

• John Robinson: "The San Gabriels," "Trails of the Angeles: 100 Hikes in the San Gabriels," "Sierra Madre’s Old Mount Wilson Trail"
• Michele Zack: "Southern California Story: Seeking the Better Life in Sierra Madre," "Altadena: Between Wilderness and City"
• Elizabeth Pomeroy: "John Muir: A Naturalist in Southern California," "San Marino: A Centennial History"
• Nat Read: "Don Benito Wilson: From Mountain Man to Mayor," "Los Angeles 1841 to 1878"
• Michael Patris:  "Mount Lowe Railway"
• Glen Owens: "The Heritage of the Big Santa Anita"
• Paul Rippens: " The Saint Francis Dam"
• Willis Osborne: "A Guide to Mt. Baldy & San Antonio Canyon"
• Christopher Nyerges: "Enter the Forest"
• Norma Rowley: "The Angeles Was Our Home"
• Chris Kasten: cartographer and former manager of Sturtevant Camp

The event takes place on Saturday, Jan. 24, from 1 p.m. to 4 p.m, at Pritchard Hall at the Sierra Madre Congregational Church, 170 West Sierra Madre Blvd., Sierra Madre, CA 91024.

And it's free! Email Jeff Lapides for more info, or call him at 626-695-8177.

This content is from Southern California Public Radio. View the original story at SCPR.org.

New entrance at The Huntington Library, Art Collections, and Botanical Gardens. ; Credit: Tim Street-Porter/The Huntington

For years, I’d feared the worst. Behind that intrusive belt of chain link and green canvas fence, with all the hidden noise of power digging machines, smashing jackhammers and growling tractors going on behind it, and heaps of dirt piled high, I dreaded that something terrible was going on in the dark, hidden heart of our dear old Huntington.

We were promised a new visitor center, a new store, a new cafe and restaurant. I imagined the Disney-fied worst: Henry Huntington’s Roller Coaster Red Car Ride; Pinky’s Pinkberry Parlor. The Blue Boy Fashion Center. Maybe even a giant Rem Koolhaas-LACMA style amoeba of purple reinforced concrete sprawling all over the lawns between the library and the old gallery.

My fears were groundless. The $68 million (not much more than the Getty paid for its new Manet) 52,000 square foot Education and Visitor Center addition is in perfect harmony with the early 20th Century original library and art gallery, perhaps more so than some previous increments, such as the nearby and blankly imposing Munger Research Center. 

The addition is named after outgoing Huntington chief Steven S. Koblik, who engineered much of the funding and planning for the facility. He’s got something to be proud of in his retirement: a new garden-centered segment of new facilities that founder, pioneer transit tycoon Henry Huntington, would probably have enthused over.

(The Huntington Store at The Huntington Library, Art Collections, and Botanical Gardens. Photo: Tim Porter-Street/The Huntington)

With its mighty $400 million endowment and the muscular fundraising power that enticed squillionaire Charlie Munger to donate hugely to this project (not to mention that research center), the venerable Huntington institution could have easily erected something expensively and grandiloquently modern.  

But its directorate and patrons seem to understand an important fact about the place: Most visitors don’t go there to be dazzled. We go there to be enthralled, even comforted by the century-old institution’s enduring and deeply reassuring ambiance that we are privileged to inhabit during our visits to its galleries of great art, its acreage of exquisite gardens and Arcadian vistas.

The Huntington possesses what designer Sheryl Barton, who co-created the new landscaping with the Huntington’s Jim Folsom, spoke of at the opening press conference as “the choreography of experience.”

That experience includes the new California-Mediterranean groves and gardens and the low-lying new structure that includes an expanded store, new classrooms, courts, cafes and an auditorium. With its simple, Tuscan-columned loggias and red-tiled roofs (and, oh, yes, even that showy glass dome on the Rose Hills Foundation Garden Court), it all effortlessly blends into the traditional whole.

Although the Huntington doesn’t seem to be planning on a new influx of visitors, it’s hard to see this new, more user-friendly front office isn’t going to attract more people to its San Marino location than the current 600,000 per year.

Particularly considering how regional museum attendance in general has boomed over recent decades. Will this abate the quiet private experience many of us Huntington fans have shared and treasured over the years?

(The Huntington will be installing this Alexander Calder sculpture, the  Jerusalem Stabile, this spring. Here, it's seen at the Rijksmuseum, Amsterdam. Calder Foundation; gift of the Philip & Muriel Berman Foundation to the Calder Foundation. Copyright © 2015 Calder Foundation /Artists Rights Society (ARS) Used with permission of The Huntington)

Probably. But there will also be important new things to see — like  Alexander Calder’s 12-by-20-foot Jerusalem Stabile, which beckons you into the new addition, and two powerful, newly acquired murals by the great 20th Century California artists Millard Sheets and Doyle Lane. Plus a new and glorious vista from the cafe’s terrace over to the original old Huntington villa — now gallery — where all this began, over a century ago.

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: John Rabe

Dear Off-Ramp fans,

What is a blog, after all? Words and images.

And what is a radio story on the web? Words, images, and sound.

Can't they live together in harmony? We say YES.

And with that in mind, we're killing the Off-Ramp blog page.  

But don't fear; we're not cutting back on content: everything that would have found a home here - Marc Haefele's art reviews, recommendations for fun events, etc. -- will now be on the regular web page of the Off-Ramp radio show. 

All the old blog entries will continue to stay on this page as an archive, like Catherine Deneuve's fading vampire lovers in The Hunger.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Sean‘s pick this week is spider_plot by Moses. Contents Custom Charts Using the Custom Chart Comments Custom Charts My pick this week is also spider_plot which Jiro picked a few months... read more >>

Sean‘s pick this week is spider_plot by Moses. Last week, we looked at the custom chart I created.  This week, we’ll look at authoring it. Contents Authoring the Custom Chart Full... read more >>

Jiro‘s Pick this week is bubblebath by Adam Danz.Adam is no stranger to File Exchange and File Exchange Pick of the Week. He is even more active on MATLAB Answers. In fact, this entry by... read more >>

Will‘s pick this week is progressbar by Steve Hoelzer. This is a File Exchange contribution that has been around since at least 2005. It has 76 downloads in the past 30 days and a 5 star rating... read more >>

Sean‘s pick this week is fitVirus by milan batista.  I hope you and your family remain safe and healthy over the coming weeks. This unfortunate situation does provide interesting data to... read more >>

Today’s post is by Owen Paul, who is a Student Ambassador Technical Program Specialis. He himself was a student ambassador before joining MathWorks, and he was featured in the Community... read more >>

COVID-19 Research and Development Sean's pick this week is COVID-19 Research and Development by MathWorks. We were recently introduced to this page which highlights uses of... read more >>

Before he Picks this Week's featured File Exchange submission, Brett would like to give a nod of appreciation to the developers of the Image Processing Toolbox. Back in September of 2018, I wrote... read more >>

Jiro's Pick this week is joyPlot by Santiago Benito.I must admit that I was simply drawn by the visualization, rather than the name of the function, as I was not familiar with the band or the music... read more >>

Sean's pick this week is MATLAB R2020a by MathWorks' Development. Contents New... read more >>

Will Davidson and his Minecraft creation, modeled off the Santa Cruz Mission; Credit: Steve Henn

Minecraft is a deceptively simple video game. You're dropped into a virtual world, and you get to build things. It's like a digital Lego set, but with infinite pieces.

Its simplicity makes it a big hit with kids, like 10-year old Will Davidson. Last year, Will built a Spanish mission for a school report. He modeled his off the Santa Cruz Mission. "I made a chapel over here," Davidson says. "I also have a bell tower."

After he turned in his report, he added a few things. Like skeleton archers. "And zombies ... and exploding things, and spiders, that try to kill you," he said.

Minecraft is popular with kids because they're free to create almost anything, says Ramin Shokrizade, a game designer.

Also, kids aren't manipulated into clicking buttons to buy add-ons within the game. In other games, designers give players a special power for free at first, then take it away and offer it back at a price.

Zynga, the creator of Farmville, calls this fun pain, according to Shokrizade. "That's the idea that, if you make the consumer uncomfortable enough, and then tell them that for money we'll make you less uncomfortable, then [they] will give us money," he says.

Kids, Shokrizade says, are especially susceptible to this — and Minecraft has a loyal following, in part, because it doesn't do it.

Susan Linn, from the Campaign for a Commercial-Free Childhood, agrees. She says a big reason she likes Minecraft is because after you purchase the game upfront, that's it.

"Parents don't have to worry that their kids are going to be targeted for more marketing," Linn says. "How forward-thinking!"

But Linn is worried. Microsoft bought Mojang, the company that created Minecraft, on Monday for $2.5 billion, and she says that any time a large company spends billions to acquire a smaller company, executives are bound start looking for new ways to get even more money out of it.

Nutella has turned into a global phenomenon, which is boosting the demand for hazelnuts. ; Credit: Ingrid Taylar/Flickr

Nutella, that sinfully indulgent chocolate-hazelnut spread, turns 50 this year, and it's come a long way, baby.

There's even a "Nutella bar" in midtown Manhattan, right off Fifth Avenue, tucked inside a grand temple of Italian food called Eataly. There's another Nutella bar at Eataly in Chicago. Here, you can order Nutella on bread, Nutella on a croissant, Nutella on crepes.

"We create a simple place," explains Dino Borri, Eataly's "brand ambassador," a man so charming that he should be an ambassador for the whole Italian country. "Simple ingredients, few ingredients. With Nutella, supertasty, supersimple. When you are simple, the people love!"

Nutella was the product of hard times. During World War II, an Italian chocolate-maker named Ferrero couldn't get enough cocoa, so he mixed in some ground hazelnuts instead. Then he made a soft and creamy version.

"It was one of the greatest inventions of the last century!" says Borri.

It's a bold claim, but greatness, you have to admit, is a matter of taste. In any case, Nutella conquered Italy and, eventually, the world.

The recipe for world domination, it turns out, isn't too complicated: Sugar, cocoa, palm oil and hazelnuts. Three of those ingredients are easy to get. Sugar, cocoa and palm oil are produced in huge quantities.Hazelnuts, though, which some people call filberts, are a different matter. Most of them come from a narrow strip of land along the coast of the Black Sea in Turkey.

Karim Azzaoui, vice president for sales and marketing at BALSU USA, which supplies hazelnuts to the U.S., says the hazelnut trees grow on steep slopes that rise from the Black Sea coast. The farms are small; grandparents and children help to harvest the nuts, usually by hand. "It's a very traditional way of life," Azzaoui says. "The Turkish family farmers are extremely proud of the hazelnut crop, as it has been part of their family history for centuries. Farmers have been growing hazelnuts here for 2,000 years."

Nutella is now making this traditional crop extremely trendy.

Ferrero, the Nutella-maker, now a giant company based in Alba, Italy, uses about a quarter of the world's hazelnut supply — more than 100,000 tons every year.

That's pushed up hazelnut prices. And this year, after a late frost in Turkey that froze the hazelnut blossoms and cut the country's hazelnut production in half, prices spiked even further. They're up an additional 60 percent this year.

Because they're so valuable, more people want to grow them. Farmers are growing hazelnuts in Chile and Australia. America's hazelnut orchards in Oregon are expanding.

And now, one can even find a few hazelnuts in the Northeastern United States, where they've never been successfully grown before. They're standing in a Rutgers University research farm, an oasis of orchards tucked in between highways, just outside New Brunswick, N.J.

"All the green leafy things you see here are hazelnut trees. But in the beginning, they all used to die from disease," says Thomas Molnar, a Rutgers plant scientist who is in charge of this effort.

The disease, called Eastern Filbert Blight, is caused by a fungus. Some relatives of the commercial hazelnut, native to North America, can withstand the fungus. But the European hazelnut, the kind that fetches high prices, cannot. When the fungus attacks, it ruptures the bark around each branch, and the tree dies.

About 10 years ago, though, a plant breeder at Rutgers named C. Reed Funk embarked on a quest for hazelnut trees that could survive Eastern Filbert Blight. Similar efforts have been underway at Oregon State University, because Eastern Filbert Blight has made its way to Oregon as well, threatening the orchards there.

"I personally went and made seed collections in Eastern Europe, Russia, Poland, Ukraine," says Molnar. "I collected thousands of seeds. We grew them as we normally would, and I'd say that 98 percent of them died."

The other 2 percent, though, did not. They carried genes that allowed them to survive the blight. Molnar cross-pollinated these blight-resistant trees with other hazelnut trees, from Oregon, that produce lots of high-quality nuts. He collected the offspring of that mating, looking for individual trees with the ideal genetic combination: blight resistance and big yields.

Molnar shows me a few candidate trees. They're thriving, and producing lots of nuts. Molnar and his colleagues now are conducting field trials of these trees in 10 locations around the Eastern U.S. and Canada to see whether they yield enough nuts to be commercially successful.

Molnar is optimistic. His efforts have even caught the attention of Ferrero, the Nutella-maker. "They've come here several times," Molnar says. "They've told me, if we can meet their quality specifications, they'd be interested in buying all the hazelnuts that we can produce."

If you just want to get one of these trees and grow hazelnuts in your backyard, though, Molnar does have a warning. "I haven't seen any other food that drives squirrels more crazy than hazelnuts," he says. Squirrels will do almost anything to get their greedy little paws on the nuts before you do.

So your hazelnuts may need a guard dog — one that likes to chase squirrels.

Wide receiver Wes Welker #83 of the Denver Broncos tries to avoid the tackle of free safety Earl Thomas #29 of the Seattle Seahawks during Super Bowl XLVIII at MetLife Stadium in this file photo taken February 2, 2014 in East Rutherford, New Jersey. Under a new drug policy agreed to by the NFL and the players union, Welker and two other suspended players will be allowed to return to the field.; Credit: Jeff Gross/Getty Images

The NFL said Wednesday that its new performance-enhancing drug policy will allow the Broncos' Wes Welker and two other suspended players to return to the field this week.

The deal with the players association also adds human growth hormone testing, ending several years of wrangling between the league and the union.

Welker, Dallas Cowboys defensive back Orlando Scandrick and St. Louis Rams wide receiver Stedman Bailey had been suspended for four games.

Under the new rules, players who test positive for banned stimulants in the offseason will no longer be suspended. Instead, they will be referred to the substance abuse program.

The league and union are also nearing an agreement on changes to the substance abuse policy. That could reduce Cleveland Browns receiver Josh Gordon's season-long ban.

Testing for HGH was originally agreed upon in 2011, but the players had balked at the science in the testing and the appeals process for positive tests. Under the new deal, appeals of positive tests in the PED program will be heard by third-party arbitrators jointly selected by the NFL and union. Appeals will be processed more expeditiously under altered procedures

Testing should begin by the end of the month.

The new rules also change the length of suspensions. Previously, all first-time violations of the performance-enhancing drug policy resulted in at least a four-game suspension.

Now, use of a diuretic or masking agent will result in a two-game suspension. The punishment for steroids, in-season use of stimulants, HGH or other banned substances is four games. Evidence of an attempt to manipulate a test is a six-game suspension.

A second violation will result in a 10-game ban, up from a minimum of eight games. A third violation is at least a two-year suspension. Before, the ban was at least a year.

An image released by Google shows an early version of its driverless vehicle. The company has built several prototypes of the self-driving car.; Credit: /Google

California is one step closer this week to making the 1980s Hollywood fantasy of Knight Rider a 21st century reality because permits for self-driving cars issued by the Department of Motor Vehicles officially went into effect Tuesday. Now a handful of companies can test automated cars on public roads.

Buckle up — it's gonna be a wild ride.

John O'Dell is a Senior Editor at Edmunds.com, and he joins Alex Cohen to talk about what this means for the future of the driverless car industry.

 

AB 2293 bans drivers from using their personal policies and mandates that drivers have to be covered from the moment they turn on their app and look for customers.; Credit: Photo by Daniel X. O'Neil via Flickr Creative Commons

Amid all the talk about cutting-edge technology, much of Uber and Lyft’s success actually owes to that fact the ride-sharing companies have been able to exploit a basic loophole: The companies foist the cost of insurance on their drivers, but the drivers' insurance companies don’t know they are underwriting cars for hire, and even if drivers wanted to be honest and get a policy that would cover ride-sharing, they couldn’t, because no such policy exists.

AB-2293, introduced by Assemblywoman Susan Bonilla (D-Concord) and signed into law Wednesday by Governor Jerry Brown, tries to close the loophole by paving the way for insurance companies to offer hybrid personal/commercial policies by next summer.

Uber once derided the bill as a backroom deal between insurance companies and trial lawyers.

"The bill does nothing to enhance safety, yet compromises the transportation choices and entrepreneurial opportunities Uber offers Californians," the company wrote in a June blog post that encouraged customers to contact their representatives opposing the bill.

However, the company backed down and supported the legislation when Bonilla insurance requirements were lowered.

AB 2293 also specifically bans drivers from using their personal policies and mandates drivers have to be covered from the moment they turn on their app and look for customers, which is a response to the tragic accident on New Year's Eve in San Francisco when an UberX driver hit and killed a six year old child.

Uber argued that because the driver was waiting for a fare he wasn't working for the company at the time, so he wasn't covered by the company's insurance.

California Jerry Brown will sign a bill to expand California's film and television tax credit program into law in Hollywood; Credit: Justin Sullivan/Getty Images

A moment Hollywood's been waiting a while for will take place... in Hollywood. 

A ceremony is planned for Thursday morning at the Chinese Theater where Governor Jerry Brown will sign the "California Film and Television Job Retention and Promotion Act" into law.

The bill - also known  as AB 1839 — will more than triple the funding for California's film and television production tax credit program. 

The push to expand and enhance the tax credit program has been going on for more than a year. In August of 2013, Los Angeles Mayor Eric Garcetti used the term "state of emergency" to characterize the flight of film and television production to other states and countries. Garcetti is expected to speak at the ceremony. 

Los Angeles-area Assemblymen Mike Gatto and Raul Bocanegra are also expected to be on hand. They introduced AB 1839 in February and moved it strategically through the legislature in Sacramento. While there were few vocal opponents of expanding the tax credit program, the big question was by how much. Many supporters hoped to see the annual pot raised from the current $100 million to at least $400 million, but an exact dollar amount wasn't specified until very late in the legislative process.

In April, the state Legislative Analyst's Office released its hard look at the current tax credit program, pointing out that the state is only getting back 65 cents in tax revenues for every dollar it’s spending on the film and TV subsidy.  The bill to expand the program kept moving.

California's magic number turned out to be $330 million dollars, not as high as chief rival New York State's $420 million per year, but still more than triple California's current offering. Along with the extra cash, AB 1839 also changes the way the tax credit program will be administered.   Rather than using a one-day lottery to determine which productions receive the credit, the state will measure the projects based on their potential to create jobs.   A project that overestimates that potential could be penalized.  

Apple Senior Vice President of Worldwide Marketing Phil Schiller announces the new iPhone 6 during an Apple special event at the Flint Center for the Performing Arts on September 9, 2014 in Cupertino, California. Apple unveiled the two new iPhones the iPhone 6 and iPhone 6 Plus.; Credit: Justin Sullivan/Getty Images

Apple's latest mobile operating system — iOS 8 — is now available, and with it, a new technical hurdle for law enforcement. The company says it will be technologically impossible to access data on phones and iPads running iOS 8, because it won't allow user passcodes to be bypassed.

Our phones, of course, contain troves of information — contacts, messages, recordings — which can be helpful for investigative or prosecutorial purposes. The Supreme Court earlier this year ruled law enforcement cannot access that kind of data without a warrant. Prosecutors had already feared the warrant hurdle would be too much — Rockland County, N.Y., District Attorney Thomas Zugibe told the Wall Street Journal in June that technology "is making it easier and easier for criminals to do their trade," while the court "is making it harder for law enforcement to do theirs."

Now, even with a warrant, data from Apple devices running iOS 8 will be tough — and, Apple says, impossible — for law enforcement to get its hands on.

As The Washington Post reports, the move "amounts to an engineering solution to a legal quandary: Rather than comply with binding court orders, Apple has reworked its latest encryption in a way that prevents the company — or anyone but the device's owner — from gaining access to the vast troves of user data typically stored on smartphones or tablet computers."

Not so fast, writes an iOS forensics expert, Jonathan Zdziarski. Just because Apple will no longer help police doesn't mean police can't find ways to use existing commercial forensics tools to extract the data themselves. Wired Magazine describes how Zdziarski proved his own point:

Zdziarski confirmed with his own forensics software that he was still able to pull from a device running iOS 8 practically all of its third-party application data — that means sensitive content from Twitter, Facebook, Instagram, web browsers, and more — as well as photos and video. The attack he used impersonates a trusted computer to which a user has previously connected the phone; it takes advantage of the same mechanisms that allow users to siphon data off a device with programs like iTunes and iPhoto without entering the gadget's passcode.

"I can do it. I'm sure the guys in suits in the governments can do it," says Zdziarski.

And, Apple will still be able to turn over user data stored outside its phones, for example, on its iCloud service, The Washington Post notes. Users often back up photos, videos, emails and more to iCloud, as the recent nude photo theft reminded us.

Apple, in creating plausible deniability for itself, is also using its strongly worded new privacy stance as a marketing opportunity. It's reinforcing what it says is a commitment to privacy and transparency when it comes to government data requests. Apple says so far this year, it has received fewer than 250 government requests for data, including requests to unlock encrypted iPhones.

In this file photo, California Gov. Jerry Brown speaks during a news conference on January 17, 2014 in San Francisco, California. Brown on Thursday signed a bill that more than triples the state's annual tax credit for film and TV production to $330 million.; Credit: Justin Sullivan/Getty Images

Gov. Jerry Brown has headed to the cradle of the Hollywood film industry to sign legislation that more than triples the state's annual tax credit to $330 million a year for films and TV shows produced in California.

Brown says the increase is needed to help prevent other states and countries from hijacking film and TV production by offering their own lucrative incentives.

Brown signed the bill Thursday at the former Grauman's Chinese Theatre, where handprints and footprints of stars from the eras of Humphrey Bogart to Robert De Niro are embedded in concrete.

Under the new system, credit will be awarded based on the number of jobs a production creates and its overall positive impact on the state.

The historic cinema is now called the TCL Chinese Theatre IMAX.

Film tax credit doc

Larry Ellison, CEO of Oracle Corporation, gestures as he makes a speech during the New Economy Summit 2014 in this file photo taken in Tokyo on April 9, 2014. The company said Thursday, September 18, 2014, that Ellison would step aside as CEO and become chairman and chief technology officer.; Credit: TORU YAMANAKA/AFP/Getty Images

Oracle says Larry Ellison is stepping aside as CEO of the company he founded. The business software maker promoted Safra Catz and Mark Hurd to replace him as co-CEOs.

Ellison will reclaim the title of chairman at Oracle and is also taking the role of chief technology officer. Oracle says Ellison wants to focus on product engineering, technology development and strategy. Jeff Henley, Oracle's chairman since January 2004, is now its vice chairman.

Catz and Hurd were co-presidents of the Redwood Shores, California, company. Catz will be in charge of the company's manufacturing, finance and legal functions. Hurd will be in charge of sales, service, and other global business units.

Ellison founded Oracle Corp. in 1977 and was its chairman from May 1995 to January 2004.

File photo: Customers enter a Home Depot store on May 21, 2013 in El Cerrito, Calif.; Credit: Justin Sullivan/Getty Images

The Home Depot says it has eliminated malware from its U.S. and Canadian networks that affected 56 million unique payment cards between April and September.

The Atlanta-based home improvement retailer said Thursday it has also completed a "major" payment security project that provides enhanced encryption of customers' payment data in the company's U.S. stores.

Home Depot also is confirming its sales-growth estimates for the fiscal year and expects to earn $4.54 per share in fiscal 2014, up 2 cents from its prior guidance.

Last year was the second straight year the poverty rate stayed flat after four years of going up in the United States.; Credit: David McNew/Getty Images

Income in greater Los Angeles is rising – slightly - according to new American Community Survey numbers released Thursday from the Census Bureau, but greater L.A. still ranks as one of the poorest major metropolitan areas in the nation.

The L.A. area (defined as L.A., Long Beach and Anaheim) had a median household income of $58,869 last year, which is $804 more than the year before, but still $1540 under the 2010 level, during the first full year after the recession.

"These numbers paint a bleak picture for California,” said Marybeth Mattingly, a researcher at Stanford University’s Center on Poverty and Inequality.

Mattingly is particularly troubled by the child poverty rate, which was 25.3 percent in 2013, up from 22.6 percent in 2010.

“In the West, Hispanics have the highest poverty with nearly one in three Hispanic kids poor, and it's even a little higher for blacks” she said.

Nationally, last year was the second straight year the poverty rate stayed flat after four years of going up. Among big metro areas, the L.A. area had the highest poverty rate in the nation, tying Phoenix, Miami, and the Inland Empire. But that’s based upon a national poverty line of $23,550 for a family of four; When you take into account how much it really costs to live here, L.A. fares even worse.

“We find that Los Angeles stands out even more, unfortunately," said Sarah Bohn, a researcher at the Public Policy Institute of California. "Housing costs are really playing a big role in family budgets and being able to make ends meet.”

Bohn says these new numbers suggest we’re going in the right direction, but she wishes we’d move at a faster pace.

We reported last week that layoffs were coming soon to Warner Brothers, but how many positions will be cut is still unknown.  

A spokesman for Warner Brothers Entertainment, Paul McGuire, told KPCC there's no exact number yet. "There is no headcount reduction target, but there is a substantial financial target," Maguire said. 

“This is a budget issue, not a head count issue,” Dee Dee Myers, Warner Brothers Vice President of Corporation Communications told Variety.  The trade publication reports that Warner Brothers is expected to eliminate as many as 1,000 positions worldwide - or about 10 percent of its workforce:

Senior managers are currently assessing their businesses to come up with ways to trim overhead. Only at the end of that process will an exact reduction figure be known. It could be somewhat lower than the current numbers being speculated, but cuts are expected to be substantial.  

News of coming layoffs became public two weeks ago, when KPCC and other media outlets obtained an internal memo written by Warner Bros. Chairman and Chief Executive Officer Kevin Tsujihara.   

"It pains me to say this, positions will be eliminated—at every level—across the Studio," Tsujihara wrote in the memo. 

Morningstar Analyst Neil Macker told KPCC that management at Warner Brothers is trying to protect the company from another takeover play by Rupert Murdoch.  In July, Murdoch offered to buy parent company Time Warner for $80 billion. He withdrew the offer in August. 

In this file photo, job seekers line up to enter Choice Career Fair at the Los Angeles Convention Center on December 1, 2010 in Los Angeles, California. Overall, the number of unemployed Californians ticked up by 1,000 over the month to nearly 1.4 million for August 2014, but the rate remained unchanged, at 7.4 percent. The national unemployment rate is down to 6.1 percent.; Credit: Kevork Djansezian/Getty Images

California's unemployment rate is unchanged for a third month, holding at 7.4 percent in August.

The California Employment Development Department reported Friday that the state added 44,200 nonfarm jobs during the month, bringing the state total to 15.5 million in August.

Last month's gains mean the state has added 1.4 million jobs since February 2010, when the jobless number hit a peak of 12.4 percent.

Overall, the number of unemployed Californians ticked up by 1,000 over the month to nearly 1.4 million. The national unemployment rate is down to 6.1 percent.

Construction posted the largest increase over the month, adding 13,600 jobs. Manufacturing, financial activities, business services, education, health, leisure and government all added jobs in August.

Trade, transportation and utilities, along with information, posted job losses of 8,300.

Founder and Executive Chairman of Alibaba Group Jack Ma (L) attends the company's initial price offering (IPO) at the New York Stock Exchange on September 19, 2014 in New York City. ; Credit: Andrew Burton/Getty Images

Alibaba's stock is surging as the Chinese e-commerce powerhouse begins its first day trading as a public company.

The stock opened at $92.70 and nearly hit $100 on the New York Stock Exchange Friday, a gain of 46 percent from the initial $68 per share price set Thursday evening.

At Friday's opening price, the company is worth $228.5 billion, more than companies such as Amazon, Ebay and even Facebook.

Jubilant CEO Jack Ma stood on the NYSE trading floor Friday as eight Alibaba customers, including an American cherry farmer and a Chinese Olympian, rang the opening bell.

"We want to be bigger than Wal-Mart," Ma told CNBC shortly after the opening Bell. "We hope in 15 years people say this is a company like Microsoft, IBM, Wal-Mart, they changed, shaped the world."

On Thursday, Alibaba and the investment bankers arranging the initial public offering settled on a price of $68 per share. The company and its early investors raised $21.8 billion in the offering, which valued Alibaba at $168 billion in one of the world's biggest ever initial public offerings.

The company, which is trading under the symbol "BABA," has enjoyed a surge in U.S. popularity over the past two weeks as investors met with executives, including its colorful founder Jack Ma. As part of the so-called roadshow, would-be investors heard a sales pitch that centered on Alibaba's strong revenue growth and seemingly endless possibilities for expansion. Demand was so high that the company raised its offering price to $66 to $68 per share from $60 to $66 per share on Monday.

The main reason investors appear breathless about the 15-year old Alibaba: It offers an investment vehicle that taps into China's burgeoning middle-class.

Alibaba's Taobao, TMall and other platforms account for some 80 percent of Chinese online commerce. Most of Alibaba's 279 million active buyers visit the sites at least once a month on smartphones and other mobile devices, making the company attractive to investors as computing shifts away from laptop and desktop machines.

And the growth rate is not expected to mature anytime soon. Online spending by Chinese shoppers is forecast to triple from its 2011 size by 2015. Beyond that, Alibaba has said it plans to expand into emerging markets and eventually, Europe and the U.S.

"There are very few companies that are this big, grow this fast, and are this profitable," said Wedbush analyst Gil Luria.

Alibaba operates an online ecosystem that lets individuals and small businesses buy and sell. It doesn't directly sell anything, compete with its merchants, or hold inventory.

"The business model is really interesting. It's not just an eBay, it's not an Amazon, it's not a Paypal. It's all of that and much more," said Reena Aggarwal, a professor at Georgetown.

Like China's consumer and Internet market, Alibaba is still growing rapidly. The company's revenue in its latest quarter ending in June surged 46 percent from last year to $2.54 billion while its earnings climbed 60 percent to nearly $1.2 billion, after subtracting a one-time gain and certain other items.

In its last fiscal year ending March 31, Alibaba earned $3.7 billion, making it more profitable than eBay Inc. and Amazon.com Inc. combined. Amazon ended Thursday with a market value of about $150 billion while eBay's market value stood at $67 billion.

Alibaba, is based in Hangzhou in Eastern China, Ma's hometown. The company got started in 1999 when Ma and 17 friends developed a fledgling e-commerce company on the cusp of the Internet boom. Today, Alibaba's main platforms are its original business-to-business service Alibaba.com, consumer-to-consumer site Taobao and TMall, a place for brands to sell to consumers.

And while there's plenty of growth left in China, Ma has recently hinted about plans to expand beyond those borders.

"We hope to become a global company, so after we go public in the U.S., we will expand strongly in Europe and America," Ma said to a group of reporters in Kowloon on Monday.

Alibaba offered 320.1 million shares for a total offering size of $21.77 billion. Underwriters have a 30-day option to buy up to about 48 million more shares. That means the offering size could be as much as $25 billion

The IPO's fundraising handily eclipses the $16 billion Facebook raised in 2012, the most for a technology IPO. If all of its underwriters' options are exercised, it would also top the all-time IPO fundraising record of $22.1 billion set by the Agricultural Bank of China Ltd. in 2010.

Yahoo, which has been struggling to grow for years, made a windfall $8.28 billion by selling 121.7 million of is Alibaba shares. And founder Jack Ma sold 12.75 million shares worth $867 million.

NFL Commissioner Roger Goodell talks during a press conference at the Hilton Hotel on Sept. 19, 2014 in New York City. Goodell spoke about the NFL's failure to address domestic violence, sexual assault and drug abuse in the league.; Credit: Elsa/Getty Images

Update 1:04 p.m. Goodell: 'Same mistakes can never be repeated'

Commissioner Roger Goodell says the NFL wants to implement new personal conduct policies by the Super Bowl. At a news conference Friday, Goodell made his first public statements in more than a week about the rash of NFL players involved in domestic violence. He did not announce any specific changes, but said he has not considered resigning.

"Unfortunately, over the past several weeks, we have seen all too much of the NFL doing wrong," he said. "That starts with me."

The league has faced increasing criticism that it has not acted quickly or emphatically enough concerning the domestic abuse cases.

The commissioner reiterated that he botched the handling of the Ray Rice case.

"The same mistakes can never be repeated," he said.

Goodell now oversees all personal conduct cases, deciding guilt and penalties.

He said he believes he has the support of the NFL's owners, his bosses.

"That has been clear to me," he said.

The Indianapolis Colts' Darius Butler was among those who tweeted criticism of the press conference:

Colts tweet 1

Colts tweet 2

The commissioner and some NFL teams have been heavily criticized for lenient or delayed punishment of Rice, Adrian Peterson and other players involved in recent domestic violence cases. Less than three weeks into the season, five such cases have made headlines, the others involving Greg Hardy, Ray McDonald and Jonathan Dwyer.

Vikings star running back Peterson, Carolina defensive end Hardy and Arizona running back Dwyer are on a special commissioner's exemption list and are being paid while they go through the legal process. McDonald, a defensive end for San Francisco, continues to practice and play while being investigated on suspicion of domestic violence.

As these cases have come to light, such groups as the National Organization of Women and league partners and sponsors have come down hard on the NFL to be more responsive in dealing with them. Congress also is watching to see how the NFL reacts.

In response to the criticism, the NFL announced it is partnering with a domestic violence hotline and a sexual violence resource center.

Goodell also said in a memo to the clubs late Thursday that within the next 30 days, all NFL and team personnel will participate in education sessions on domestic violence and sexual assault. The memo said the league will work with the union in providing the "information and tools to understand and recognize domestic violence and sexual assault."

The league will provide financial, operational and promotional support to the National Domestic Violence Hotline and the National Sexual Violence Resource Center.

12:07 p.m. Roger Goodell to break silence on domestic abuse and the NFL

Roger Goodell will make his first public statements in more than a week about the rash of NFL players involved in domestic violence when he holds a news conference Friday.

The NFL commissioner will address the league's personal conduct policy. The league has faced increasing criticism it has not acted quickly or emphatically enough concerning the domestic abuse cases.

His last public appearance was at a high school in North Carolina on Sept. 10.

The commissioner and some NFL teams have been heavily criticized for lenient or delayed punishment of Ray Rice, Adrian Peterson and other players involved in recent domestic violence cases. Less than three weeks into the season, five such cases have made headlines, the others involving Greg Hardy, Ray McDonald and Jonathan Dwyer.

Vikings star running back Peterson, Carolina defensive end Hardy and Arizona running back Dwyer are on a special commissioner's exemption list and are being paid while they go through the legal process. McDonald, a defensive end for San Francisco, continues to practice and play while being investigated on suspicion of domestic violence.

As these cases have come to light, such groups as the National Organization of Women and league partners and sponsors have come down hard on the NFL to be more responsive in dealing with them. Congress also is watching to see how the NFL reacts.

In response to the criticism, the NFL announced it is partnering with a domestic violence hotline and a sexual violence resource center.

Goodell also said in a memo to the clubs late Thursday that within the next 30 days, all NFL and team personnel will participate in education sessions on domestic violence and sexual assault. The memo said the league will work with the union in providing the "information and tools to understand and recognize domestic violence and sexual assault."

The league will provide financial, operational and promotional support to the National Domestic Violence Hotline and the National Sexual Violence Resource Center.

"These commitments will enable both the hotline and NSVRC to help more people affected by domestic violence and sexual assault," Goodell said in the memo.

The National Domestic Violence Hotline provides domestic violence victims and survivors access to a national network of resources and shelters. It is available 24 hours a day, seven days a week in 170 languages. Goodell noted that the hotline received 84 percent more calls from Sept. 8-15, and the organization said more than 50 percent of those calls went unanswered because of lack of staff.

"The hotline will add 25 full-time advocates over the next few weeks that will result in an additional 750 calls a day being answered," he said.

NSVRC supports sexual violence coalitions across the United States. The NFL's initial support will be directed toward state coalitions to provide additional resources to sexual assault hotlines.

This story has been updated.

A job seeker fills out an application during a career fair at the Southeast Community Facility Commission on May 21, 2014 in San Francisco; Credit: Justin Sullivan/Getty Images

California employers added 44,200 jobs in August, the largest gain of any state in the country. The state's unemployment rate stood still at 7.4 percent, compared to 6.1 percent nationwide.

"When the national numbers came out for August, and we saw a significant slowdown in job creation, we were a little bit concerned that we'd see the same thing happening here," said economist Kimberly Ritter-Martinez of the Los Angeles County Economic Development Corporation. "But in California, we stayed pretty much on track, outpacing the nation in terms of job creation." 

The construction sector was a huge contributor to California's job growth in August, with a gain of 13,600 jobs.  The other sectors with large gains were Education/Health Services (+12,200), and Professional/Business Services (+10,600). 

"We've been seeing steady increases in construction employment for some time, but it has been a slow steady increase," said Tom Holsman, CEO of the Associated General Contractors of California.

"Recent increases are attributable to many projects that have been in the early stages of startup gaining momentum," Holsman added, citing LA County Metro transit projects and the new Wilshire Grand Hotel construction project as local examples.

In Los Angeles County, the unemployment rate also stayed flat at 8.1 percent, but it remains far lower than the 9.9 percent of August of 2013. In the last twelve months, the L.A. County Metro area has gained 6,600 construction jobs, a rate of 5.6 percent.

Ritter-Martinez, of the LAEDC says other economic indicators support a boost in construction jobs at the Los Angeles and statewide levels: permits for new housing construction, remodeling, and non-residential construction are all on the rise. 

"Builders and developers are reporting that they're having trouble finding some skilled labor for construction," Ritter-Martinez said. "It's taken so long for that sector to come back, a lot of construction people have gone off and found other kinds of jobs or moved out of the region." 

In Orange County, the unemployment rate was 5.4 percent, down from 5.7 percent in July. The unemployment rate in the Riverside-San Bernardino-Ontario area was 8.7 percent in 
August 2014, down from a revised 9.3 percent in July 2014.

Maurice Jackson of Proven and Probable discusses the future of DNI Metals with the company's executive chairman.

The technical update on the asset, which Wheaton Precious Metals owns a production stream on, is explored in a CIBC report.

Jordan Trimble of Skyharbour Resources lays out the reasons why the uranium bear market is coming to an end, and why his company is poised to take advantage of the upturn, in this conversation with Maurice Jackson of Proven and Probable.

Ron Struthers of Struthers' Research Report takes a look at the investment thesis for Ridgestone Mining.

With the recent 22% rise in the price of uranium, Peter Epstein of Epstein Research considers the upside for Skyharbour's holdings in the Athabasca Basin.

The opportunities surrounding a potential district-scale prospect are outlined by Hannan Metals CEO Michael Hudson in conversation with Maurice Jackson of Proven and Probable.

Money manager Adrian Day provides updates on some of the resource companies in his portfolio and says he is buying little, but is ready to buy on pullbacks.

Shares of Tronox Holdings traded higher after the company released preliminary Q1/20 earnings data and provided an update on its ongoing operations.