[Politics] :
The pilot project to restructure tertiary hospitals will continue, with the hospitals to focus on severe diseases, emergencies and rare diseases. Currently, 31 out of 47 tertiary hospitals are taking part in the project and nine more are set to join. The hospitals have reduced the number of ...

[more...]

[Inter-Korea] :
People who suffer damages as a result of North Korea’s trash balloon campaign will eventually be eligible for government compensation. The National Assembly passed an amendment to the Framework Act on Civil Defense during a plenary session Thursday, allowing the government to provide compensation for ...

[more...]

[Politics] :
The ruling People Power Party has decided to take steps to ensure that the National Assembly recommends candidates for the post of special inspector to look at allegations against members of the president’s family. The ruling camp adopted the party policy during a general meeting for its lawmakers on ...

[more...]

[Politics] :
Main opposition Democratic Party chair Lee Jae-myung says he will appeal a court decision to fine his wife one-point-five million won, or around one-thousand-100 U.S. dollars, for violating the Public Official Election Act.  Lee expressed deep regret over the Suwon District Court handing down such a ...

[more...]

How can Scotland re-establish its building stone industry?  British Geological Survey

Binary chalcogen halogen EX4 species represent intriguing systems in terms of chemical bonding theories, such as hypervalency and stereoactivity of lone electron pairs. Instead of a simple molecular EX4 structure, selenium tetrachloride forms an ionic pair, Cl3Se+Cl−, that assembles into a tetrameric (SeCl4)4 structure, namely, tetra-μ3-chlorido-dodecachloridotetraselenium. This article describes the charge–density analysis of the tetrameric molecule of β-SeCl4 based on the aspherical model obtained from Hirshfeld Atom Refinement of the tetrameric molecule and of an explicit cluster of 15 tetramers that simulates the crystal packing. Deformation density, electron localization function (ELF) and Quantum Theory of Atoms in Molecules (QTAIM) were used to evaluate the bonding situation, the electron-density distribution around the Se atom and the interaction energy of the tetramer.

The synthesis, crystal structure, and Hirshfeld surface analysis of N-(4-methoxyphenyl)picolinamide (MPPA), C13H12N2O2, are presented. MPPA crystallizes in the monoclinic space group P21/n, with a single molecule in the asymmetric unit. Structural analysis reveals that all non-hydrogen atoms are nearly coplanar, and the molecule exhibits two intramolecular hydrogen bonds that stabilize its conformation. Supramolecular features include significant intermolecular interactions, primarily C—H...π and various hydrogen bonds, contributing to the overall crystal cohesion, as confirmed by energy framework calculations yielding a total interaction energy of −138.3 kJ mol−1. Hirshfeld surface analysis indicates that H...H interactions dominate, followed by C...H and O...H interactions, highlighting the role of van der Waals forces and hydrogen bonding in crystal packing.

The title compound [systematic name: 1,10-phenanthrolinium 6-hydroxy-5-(oxidoimino)-1,3-diazinane-2,4-dione–6-hydroxy-5-(hydroxyimino)-1,3-diazinane-2,4-dione–water (1/1/5)], C12H9N2+·C4H2N3O4−·C4H3N3O4·5H2O, is a co-crystal salt hydrate comprising 1,10-phenanthrolinium cations, violurate anions, free violuric acid as co-former and five water molecules of crystallization per formula unit. The violurate and the violuric acid residues each form distinct N—H...O hydrogen-bonded tapes with a common R22(8) hydrogen-bond motif extending parallel to (103). Solvent water molecules connect the tapes to form a tri-periodic hydrogen-bonded network with channels extending parallel to the a-axis direction, which accommodate the N—H...Owater hydrogen-bonded 1,10-phenanthrolinium cations. Direct N—H...O hydrogen bonds between the 1,10-phenanthrolinium and violurate ions are not encountered.

'California Mountain Lions,' Episode 7: Human Interaction

Freshwater from salt water using only solar energy

Image modeling for biomedical organs

AI-enabled global payment network Klarna has announced that it...

Multinational payment card services corporation

Mastercard has introduced Biz360, a digital platform...

MoonPay, a crypto payments...

The National Science Foundation: Creating knowledge to transform our future

David Rolf, International Vice President of the Service Employees International Union, stands in his downtown Seattle office. Rolf led the campaign to bring a $15 minimum wage to Seatac, Washington in 2013.; Credit: Ben Bergman/KPCC

As Los Angeles mulls a law that would raise the minimum wage above the current California minimum of $9 an hour, it's the latest city to jump on a trend that started as the by-product of a failed labor negotiation in the state of Washington.

The first city to enact a $15-per-hour minimum wage was SeaTac, Wash., — a tiny airport town outside Seattle. "SeaTac will be viewed someday as the vanguard, as the place where the fight started," the lead organizer of SeaTac's $15 campaign, David Rolf, told supporters in November 2013 after a ballot measure there barely passed.

Rolf never set out to raise SeaTac’s minimum wage, much less start a national movement. Speaking from a sparse corner office in downtown Seattle at the Service Employees International Union 775, which he founded in 2002, Rolf told KPCC that his original goal in 2010 was to unionize workers at SeaTac airport.

When employers – led by Alaska Airlines — played hardball, Rolf put the $15 minimum wage on the ballot as leverage. “We had some polling in SeaTac that it could pass, but it was not at all definitive,” Rolf said.

That proved prescient: In a city of just 12,108 registered voters, Rolf's staff signed up around 1,000 new voters, many of them immigrants who had never cast a ballot. The measure won by just 77 votes.

It's an irony that the new law doesn't apply to workers at the center of the minimum wage campaign: The airport workers at SeaTac. That's because the Port of Seattle, which oversees the airport, challenged the initiative, arguing that the city's new minimum wage should not apply to the nearly 5,000 workers at the airport. A county judge agreed. Supporters of the $15 wage have appealed.

Still, Rolf said, "I think people are proud that that’s what happening. There are leaders of the movement in Seattle, including our mayor, that said shortly after the victory, 'Now we have to take it everywhere else.'"

The $15 minimum wage spread to Seattle last June and to San Francisco in November. 

Why $15 an hour?

The $15 figure first came to people’s attention in a series of strikes by fast food workers that started two years ago in New York. 

“I think it’s aspirational, and it provides a clean and easy-to-understand number," Rolf said. "You can debate whether it ought to really be $14.89 or $17.12, and based upon the cost of living in different cities, you could have a different answer. But in the late 19th and early 20th century, American workers didn’t rally for 7.9 or 8.1 hour working day. They rallied for an eight-hour day.”

“What’s really remarkable about social protest movements in American history is that the radical ideas of one group are often the common sense ideas of another group in a matter of a few years," said Peter Dreier, professor of politics at Occidental College.

Rolf is hopeful the $15 minimum wage can spread to every state. But Nelson Lichtenstein, Director of the Center for the Study of Work, Labor and Democracy at the University of California, Santa Barbara, is skeptical.

“I don’t think having high wages in a few cities will mean it will spread to red state America,” he said. 

Lichtenstein said cities like L.A. have become more labor friendly, thanks largely to an influx of immigrants, but that’s not the case in the South. Oklahoma recently banned any city from setting its own minimum wage, joining at least 12 other states with similar laws, according to Paul Sonn, general counsel and program director at the National Employment Law Project.

In November, voters in four Republican-leaning states — Alaska, Arkansas, South Dakota, and Nebraska — approved higher minimum wages, but they weren’t close to $15.

A $15 dollar wage would have a much greater impact in Los Angeles than Seattle or San Francisco because the average income here is much lower than in those cities. Post-recession, income inequality has become much more of a concern for voters, which has made $15 more palatable, Sonn said.

This fall, the Los Angeles City Council enacted a $15.37 minimum wage for hotel workers that takes effect next year. A similar law has been in effect around LAX since 2007. 

But even though California cities have been allowed to set their own minimum wages for more than a decade, L.A. has never come close to doing so.

Until now.

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

Mary Ann de Lares Norris is Chief Operating Officer of Oblong Industries. She brings her dog LouLou to Oblong's downtown LA headquarters.; Credit: Brian Watt/KPCC

KPCC recently reported on the tech world’s diversity problem. Technology firms face challenges in hiring diverse staffs of its coders, web developers and software engineers.

It’s also a challenge at nonprofits such as Southern California Public Radio,  parent of 89.3 KPCC, which has always sought to build a staff that reflects the region it serves. The section of that staff that develops the KPCC app and makes its website run is all white and mostly male.

But a small talent pool means the diversity challenge is even greater for nonprofits and even smaller tech firms.

“The first problem is that all of the people working for me are male,” says Alex Schaffert, the one female on KPCC’s tech team.  “I’m kind of focusing on maybe getting another girl into the mix.”

Schaffert can use the term “girl” because she happens to be the leader of the tech team:  KPCC’s Managing Director of Digital Strategy and Innovation. 

Why diversity is important

Schaffert recently launched the topic of diversity – or lack thereof – at a weekly meeting of her team. She expected a “stilted and awkward” discussion from the five white men on her team, but a few of them didn’t hold back.  

“Not having diversity represented on the team leaves us more susceptible to circular thinking and everyone sort of verifying each other's assumptions,” said Joel Withrow,  who was serving at the time as KPCC’s Product Manager. “It impacts the work. It limits what you’re able to build.”

Sean Dillingham, KPCC’s Design and Development Manager, said living in a diverse community is what attracted him to Los Angeles, and he wants diversity in his immediate work team, too.

“When I look at other tech companies, I will often go to their ‘about us’ page, where they’ll have a page of photos of everyone, and I am immediately turned off when I just see just a sea of white dudes, or even just a sea of dudes,” Dillingham said.

Big competition, small talent pool

Dillingham and Schaffert are currently recruiting heavily to fill two tech-savvy positions. When a reporter or editor job opens up at KPCC, Schaffert says close to 100 resumes come in.

"But if you post a programmer job, and you get three or four resumes, you may not get lucky among those resumes," she says. "There may not be a woman in there. There may not be a person of color in there."

In other words, the talent pool is already small, and the diversity challenge makes it even smaller. KPCC is competing for talent with Google and Yahoo and all the start-ups on L.A.’s Silicon Beach. 

Schaffert’s being proactive, mining LinkedIn and staging networking events to attract potential candidates. She’s also trying to make sure KPCC’s job descriptions don’t sound like some she's seen in the tech world.

"If you read between the lines, they’re really looking for someone who is male and is somewhere between 25-30 years old and likes foosball tables and free energy drinks in the refrigerator," Schaffert says. “So you read between lines, and you know that they’re not talking about me, a mother of two kids who also has a demanding career. They're talking about someone different.”

Pay vs. passion

Schaffert's challenges and approaches to dealing with them are similar to those of Mary Ann de Lares Norris, the Chief Operating Officer at Oblong Industries. Based in downtown Los Angeles and founded in 2006, the company designs operating platforms for businesses that allow teams to collaborate in real time on digital parts of a project.

“I think technology and diversity is tough,” Norris told KPCC.  She’s proud her company’s management ranks are diverse, but says only 12 percent of its engineers are female. “Pretty standard in the tech industry, but it’s not great,” Norris says. “We really strive to increase that number, and all of the other companies are also, and it's really hard.”

Like Schaffert at KPCC, Norris works hard fine-tuning job descriptions and communicating that her company values diversity and work-life balance. But sometimes, it just boils down to money.

"We have to put out offers that have competitive salaries,” Norris says, adding that she can’t compete with the major tech firms. "The Googles and the Facebooks of the world can always pay more than we can. So we attract people who are passionate about coming to work for Oblong.  And, of course, we also offer stock options."

KPCC doesn’t have the  stock options, but we’ve got plenty of passion. Could that be the secret recruiting weapon for both small tech companies and nonprofits?  

LinkedIn recently surveyed engineers about what they look for in an employer. Good pay and work-life balance were the two top draws. Slightly more women prioritized work-life balance and slightly more men chose the big bucks. 

Clinical Entrepreneurship professor Adlai Wertman says that, historically, nonprofits and small businesses actually had the upper hand over big companies in recruiting minorities and women.

"There’s a feeling that they’re safer, more caring environments, less killer environments, and we know that corporate America has been the bastion of white males," said Wertman. 

But Wertman says that advantage disappears in the tech world because of the "supply-and-demand" problem with talent. When big firms decide to focus on diversity – as some have recently — they have plenty of resources.

"They’re always going to be able to pay more, and in truth they’re getting access to students coming out of these schools in ways that we as nonprofits and small companies never will," said Wertman. 

Wertman worked 18 years as an investment banker on Wall Street, then left to head a nonprofit on L.A.’s skid row. Now he heads the Brittingham Social Enterprise Lab Enterprise Lab at USC’s Marshall School of Business. He believes that, early on, the big companies have the best shot attracting diverse tech talent. But in the long run, much of that talent will turn back to smaller firms and nonprofits.

"I think ultimately people vote with where they’re most comfortable, where 'my values align with my employer's values, and if I don’t feel those values align, then I’m going to leave,'" Wertman said. "Ultimately, I think, for a lot of women and minorities, there’s a lot of value alignment within communities that are doing good in the world." 

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

Walter Flores was unemployed for 8 months in 2014 but is now working in sales for Workforce Solutions in Compton; Credit: Brian Watt/KPCC

California's unemployment rate continued its decline in December, ending the year at 7 percent, according to figures released Friday by the state Employment Development Department.

But in Compton, Willowbrook and the Florence-Graham section of Los Angeles County, it remains about double that, data show.

“You might have work this week. But next week, you won’t have work,” said James Hicks, 36, 0f Compton. He's worked in warehouses through staffing agencies, but said the jobs have always been temporary.

Statewide, California has added jobs at a faster rate than the United States for three straight years, according to Robert Kleinhenz, Chief Economist with the Los Angeles County Economic Development Corporation. He pointed out the statewide unemployment rate is now where it was June 2008. 

"All in all, with the recession now five years back in our rearview mirror, we’re finally at the point where we can say that we have shrugged off quite a bit of the pain that occurred back during those times," Kleinhenz said.

The Los Angeles County metro area saw a net gain of almost 71,000 jobs in 2014.  The County's overall unemployment rate has fallen to 7.9 percent from 9.2 percent a year ago.

But Compton's unemployment rate was 13 percent in December.

“I’d rather have a  full-time type of gig, working 40 hours a week, but right now, even if you get 25 hours, it’s a blessing,” said Hicks, the warehouse worker in Compton.

On Thursday, he interviewed to be a guard with a security firm, but was told there weren’t any positions available. He had another security guard job six months ago that he thought might become full time and permanent. 

"It was going all right for about two to three months, until they cut my hours and days," Hicks said. 

Walter Flores lives in La Mirada but currently works as an account executive in the Compton office of Workforce Solutions. He was unemployed for about eight months last year after a car accident.

"Losing what you love to do is a tough one, but I'm back," he said. "2015 is going to be a great year."

Flores said most major warehouse and logistics companies prefer to hire temporary workers through industrial staffing firms like the one where he's working because their needs are sporadic.  

But he said it's still a potential opportunity.

"It doesn't matter that it's a temporary position, as long as you put your foot in the door, and then you let the employer know how much value you are for the company," Flores said.  

Hicks, who's earned a GED, wants to find a program to study physical therapy. But first, he’d like to find a job. 

He said you can't judge Compton’s residents by its unemployment rate.

"Some of us out here who [are] looking for jobs, but sometimes it’s the luck of the draw," he said. "It’s kind of scarce out there.” 

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

A rendering of he new stadium and complex to be built near the Forum in Inglewood was released by the Hollywood Park Land Company, Kroenke Group and Stockbridge Capital Group earlier this month.; Credit: Courtesy Hollywood Park Land Company

A measure that would allow an 80,000-seat NFL-caliber stadium to be built in Inglewood could be on that city’s ballot by this summer after developers submitted almost three times as many signatures than needed for a voter initiative.

“22,216 signatures were submitted to the city clerk today,” said Gerard McCallum, project manager with the Hollywood Park Land Company. “It was unbelievable. The response was more than we could have ever anticipated.”

Normally, before construction can begin on any project there has to be an environmental review, but that can take a long time and time is something in short supply for St. Louis Rams Owner Stan Kroenke and his plan to move the team to L.A.

“We would be going through another three year project process, and the current construction wouldn’t allow that,” said McCallum, referring to the redevelopment of 238 acres of the old Hollywood Park site that was permitted in 2009.

“If we were going to make any modifications, it would have to be approved this year,” said McCallum.

To speed things up, developers decided to bring the stadium project directly to Inglewood voters, which required 8,000 signatures.

Once the signatures are verified, Inglewood’s City Council will consider the measure, then developers hope a special election would take place before the start of the next NFL season.

McCallum says construction would begin whether the Rams or any other team decides to move here, though on Monday Kroenke made another move suggesting a return of the NFL to Los Angeles could be closer than it has been at any point during the last two decades, though not until after the 2015 season. From The St Louis Post-Dispatch:

Rams management sent a letter to regional officials on Monday afternoon. The letter said the team was converting its 30-year lease to an “annual tenancy,” effective April 1 and, “in the absence of intervening events,” extending through March 31, 2016.

The notice, which has long been expected, does two things:

• It allows owner Stan Kroenke to pull the team out of St. Louis as soon as 2016, because the Rams lease will now expire at the end of every season. The original lease was to expire in 2025.
• It also legally binds the Rams to play at the Edward Jones Dome next fall — a point on which many here were uncertain.

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

A screenshot from Maroon 5's "Sugar" music video.; Credit: Maroon 5

Maroon 5 has a new music video built around a simple, viral-bait premise: Adam Levine and the rest of the band trying to crash as many weddings around Los Angeles as they can in one day (Dec. 6 of last year). It's a lot of fun, directed by "Wedding Crashers" movie director David Dobkin, but it appears that some of those "crashed weddings" may have been staged.

Watch the video (warning: contains adult language):

Maroon 5: Sugar

Fans have noticed that several of the couples seen in the video appear to be actors. Actors Stephen and Barbara Woo posted on Facebook that they played the parents of one of the brides in the video and said that not only were the weddings staged, they didn't even take place on one day, claiming that all the weddings were shot in the same location over the course of three days.

Facebook post by actors

The groom from the wedding featured the most in the video has been named by observers as Nico Evers-Swindell, according to Cosmopolitan. Evers-Swindell was already married to actress Megan Ferguson since 2011 — and she's not the "bride" in the video.

Fans have fingered one of the models as "America's Next Top Model" runner-up Raina Hein, according to Cosmopolitan. Also, the man believed to be her long-term boyfriend isn't the groom in the Maroon 5 weddings.

Don't lose heart, though — at least one of the weddings in the video appears to be real, with wedding photographer Duke Khodaverdian telling E! that yes, it was the real deal.

"It was an incredible surprise and everyone at the wedding is going to cherish those memories," Khodaverdian told E! in December.

Instagram 1

Instagram 2

A representative for the band told "Entertainment Tonight" that only the grooms knew about the band in each case — but it looks like that means in the case of the real crashed weddings. The representative did concede that some shots "had to be shot separately from the real weddings due to time and space constraints that were given," and the article does note that the video was shot over three days.

Levine expressed his excitement about crashing the weddings in an interview with People magazine.

"I had no idea I would be affected by the overwhelming reactions we received from the couples and guests," Levine said. He told "Entertainment Tonight" that it was stressful to arrange, but that the surprise felt good. "[We were] happy that they liked our band, too – [that] would have been a total disaster."

They also solicited Twitter to find people lip-syncing "Sugar" to possibly put in their music video, but it doesn't look like those submissions got used.

Maroon 5 Sugar tweet

If you want to see Levine involved in a different dubious outfit, you can see him back hosting "The Voice" on Feb. 23. Open call auditions for the show begin Jan. 24 in New York, with Los Angeles auditions on Jan. 31 and Feb. 1.

Did you spot any more actors you recognize in this video? Do you have any more evidence of any of these weddings being either real or faked? Let me know on Twitter at @MikeRoe.

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

Announcement cards and envelopes by designer Marc Friedland which are used by presenters at the Oscars to announce winners are on display at the food and decor preview Feb. 4, 2015 of this years Governors Ball, the post-Oscar celebration which follows the 87th Oscars ceremony on Feb. 22 in Hollywood.; Credit: Robyn Beck/AFP/Getty Images

Ready for your 2015 Oscars party? We've got printable Oscars ballots and the bingo cards you need to prove your superiority over your movie-loving friends during your Academy Awards viewing party. Here are the party printables you'll need to play along with Sunday's show, with TV coverage kicking off at 4 p.m. Pacific. (Get caught up on KPCC's 2015 Oscars coverage right here to have more fun and help make your picks!)

Printable official Oscars ballot

• Download, print, and play at home. Listen to "The Frame's" preview of the Academy Awards, see what "FilmWeek's" critics have to say about who will win, then make your own decisions on Sunday. Our crystal ball Oscars predictor/awards tracker can also help the prognostication efforts with a rundown of nominee buzz, awards already won, official trailers, photos and more.
• You can also play along with friends online on the official Academy Awards site or with the New York Times. (If you want to see KPCC's Mike Roe's picks and play against him in either online game, go here for the official site and here for the New York Times.)

2015 Oscars ballot

Printable Oscars bingo cards

• Download, print and play at home. Use our custom generator to create as many cards as you need for your party.
• How to play: Mark off each block when you hear these words or see these things happen during the Oscars telecast on Sunday. When you get five blocks in a row (horizontally, vertically, or diagonally) stand up and shout "OSCAR!!" Alternate rules: Play as a drinking game and for every block, take a sip. Finished a row? Finish your scotch.

Interactive Oscars bingo cards 

• WNYC pays tribute to the annual exercise in entertainment award show parody with a portable, computerized bingo. Play on your phone, iPad, computer or print a card. Refresh for new combinations.

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

We used to make a big deal out of Casual Fridays at work.  But now that we're entering the dog days of summer, is anyone dressing up?

Mark Austin Thomas: Business analyst Mark Lacter, dare I ask what you're wearing?

Mark Lacter: This is radio for a reason, Mark!  And certainly, don't ask that question at the L.A. Daily Journal newspaper, which recently issued a memo that laid down the law on what's not considered appropriate attire.  As in, no jeans, no sneakers (except for messengers), no sandals or flip-flops, no halter tops, no spaghetti straps, no tee-shirts.  Also, no shorts, leggings, or exercise pants.  And, if you don't measure up, you may be sent home to change clothes - without pay for the time you've missed.  Now, to be fair, the Daily Journal is a legal newspaper, and law firms - along with the courts - remain kind of a bastion for traditional business attire.

Thomas: And that means jackets and ties for men...?

Lacter: ...and skirt suits and business dresses for women.  It's the same deal for many offices in New York and Chicago.  Matter of fact, dressing down is still not especially popular in many parts of the country, according to a new survey I came across.  More than half of the respondents say it suggests an employee doesn't have respect for the workplace.  In other words, not a team player.

Thomas: But L.A. has this huge creative community where jeans and tee-shirts are almost part of the uniform.

Lacter: Yeah, the only people wearing suits at these places are the high-level executives who are actually called "suits."  This has been true in Hollywood for years, but now you're seeing it with the growth of tech companies.  Imagine how confusing it must be for an attorney who wears the standard business uniform, and who has one of these companies as his client.  And, maybe that's the point - there is no single workplace culture, even within the companies themselves.

Thomas: Is being comfortable just not on the radar at these places?

Lacter: Well, not to pick on the Daily Journal, but so what if someone who is stuck in front of a computer all day wants to be a little more comfortable in jeans?  Will the world as we know it come to a halt?  You know, the workplace is far different than it was even 10 years ago.  People are doing their jobs in all sorts of ways, whether it's working from home, or as independent contractors.  And, this is really all about common sense - so, maybe it's time the stick-in the-muds realized as much.

Thomas: Attire aside, how is the workplace itself changing?

Lacter: Some of those downtown law firms have been cutting back, which means that they don't need as much space.  Not every attorney needs a giant office.  Same with the downtown accounting firms - when folks do go to work, the office may include a fancy kitchen, a ping pong table, workstations that double as treadmills, a place to do yoga or even to take a nap.

Thomas: All this is supposed to boost productivity...

Lacter: ...which it probably does, though you do have to wonder whether having a yoga room really enhances output, or is just a way of keeping employees from not taking a job somewhere else.  My favorite perk, and I say that facetiously, is the office kegerator, which not only seems like a dumb idea, but a great way for a company to get sued if somebody has one too many.

Thomas: Quickly Mark, any news in the dispute between CBS and Time Warner Cable?

Lacter: Not good news.  Time Warner Cable offered what it said were two possible solutions to the standoff, but CBS has came back and called it a sham.  Time Warner Cable subscribers have been without CBS programming since Friday, which is already going on longer than analysts had first expected.  The fight is over re-transmission fees - the amount of money that a programmer receives from a distributor- in this case, Time Warner Cable.  CBS apparently wants a big increase, and Time Warner Cable doesn't want to pay.

Mark Lacter is a contributing writer for Los Angeles Magazine and writes the business blog at LA Observed.com.

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

Businesses are cutting back on hours to avoid having to provide health care coverage under the new Affordable Care Act.

Steve Julian: Business analyst Mark Lacter, who's affected here?

Mark Lacter: Thirty hours a week is the magic number for workers to be considered full time under the new law.  If a business has 50 or more full-time employees, health care coverage has to be provided.  Except that a lot business owners say that the additional cost is going to be a financial killer, so instead, some of them have been cutting back hours to below that 30-hour threshold.  More than 200,000 Californians are at risk of losing hours from the health care law - that according to one study.

Julian: What kinds of businesses are doing this?

Lacter: Restaurant chains have received much of the attention, but the city of Long Beach, as an example, is going to reduce hours for a couple of hundred of its workers.  And, last week came word that the L.A.-based clothing chain Forever 21 will cut some of its full-time employees to a maximum 29-and-a-half hours a week, and classify them as part time.  That touched off an outcry on the Internet - people were saying that Forever 21 was being unfair and greedy - though the company says that only a small number of employees are affected, and that its decision has nothing to do with the Affordable Care Act.  There's really no way to know - Forever 21 is a private company, which means it's not obligated to disclose a whole lot.  What we do know is that those people will be losing their health care coverage.

Julian: And, the ultimate impact on businesses and workers?

Lacter: Steve, you're looking at several years before the picture becomes clear.  Here in California, workers not eligible for health care through their employer can get their own individual coverage, and if their income levels are not over a certain amount, they'd be eligible for Medicaid.  And, let's not forget many businesses already provide coverage for their employees.  So, lots of rhetoric - but, not many conclusions to draw from, which does make you wonder why so many business owners are unwilling to at least give this thing a chance.  Just doesn't seem to be much generosity of spirit for their workers, not to mention any recognition that if people can go to a doctor instead of an emergency room we'd probably all be better off.

Julian: Health care is far from the only controversy for Forever 21, true?

Lacter: In some ways, it's one of the biggest Southern California success stories.  Don Chang emigrated here in 1981 from Korea at the age of 18, opened his first store in Highland Park three years later (it was called Fashion 21), and he never looked back.  Today, revenues are approaching $4 billion.  But, the guy must have some pretty hefty legal bills because his company has been accused of all kinds of workplace violations.  The lawsuits alleged that workers preparing items for the Forever 21 stores didn't receive overtime, that they didn't get required work breaks, that they received substandard wages, and that they worked in dirty and unsafe conditions - sweatshop conditions, essentially.

Julian: Are most of their claims settled out of court?  You don't hear much about them.

Lacter: They are, which means there's usually a minimal amount of media coverage.  If a privately held company decides to keep quiet by not releasing financial results or other operational information, there's not likely to be much of a story - unlike what happens with a company like Apple, which is always under scrutiny.  Sometimes, plaintiffs will try to organize class-action suits, but that's extremely tough when you're dealing with low-wage workers who are often very reluctant to get involved because of their legal status.  And, let's not forget that Forever 21 - like any low-cost retailer - is simply catering to the demand for cheap, stylish clothes that are made as quickly as possible.

Julian: I guess you can't make that happen when wages and benefits are appreciably higher than your competition.

Lacter: The next time you walk into a Forever 21 store and wonder how prices can be so reasonable, that's how.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

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

Across the country, the sale of electric cars is sluggish.

Susanne Whatley: But business analyst Mark Lacter, that's not quite the case in California...

Mark Lacter: Well, comparatively speaking, Susanne.  L.A. and San Francisco alone made up 35 percent of the electric cars sold in the entire U.S. during the first half of the year - 35 percent!  Keep in mind that statewide just 9,700 electric cars were sold in that six-month period, which translates to a little over 1 percent of all car sales in California.  So, they're not exactly lining up around the block, even in a region that's known for its early adopters.  Of course, electric cars were always going to be a tough sell -

Whatley: I've been driving one for about half a year now... and I absolutely love it.  But they ARE expensive, and I'm sure that's a factor.

Lacter: - and that's even after a federal tax credit, but they also require drivers to learn about recharging the battery - sometimes in not-very-convenient places - and, from a design standpoint, most of them don't stand out (one of the automakers that's now out of business had been selling what was a basically plain vanilla Mitsubishi sedan).  Now, the one notable exception is the Tesla - so long as you have at least $90,000 to shell out, and are willing to wait a while to get your car delivered.  In affluent sections of L.A., this is truly the hot car - just 600 or so Teslas have been sold in Southern California during the first seven months of the year.  It's also received rave reviews from all the big automotive publications.

Whatley: And perhaps most surprising of all, Tesla has been making money…

Lacter: That's right, although the stock price is ridiculously overvalued at around $20 billion (that's one-third the market value of General Motors, even though Tesla cranks out all of 21,000 vehicles a year while GM sells almost 5 million).  People seem to love this car almost in spite of it being battery powered, which gets us back to the challenges in trying to sell these things.  Elon Musk, who founded the company (he's also behind SpaceX and he co-founded PayPal), has managed to win over customers because the car itself is so much fun to drive.  The other makers of electric cars - not so much.

Whatley: So, for the folks still on the fence... might it be better to wait until driverless cars become available?

Lacter: That's going to be quite a wait, although all the automakers are working on their versions of self-driving cars.  The Mercedes people just announced plans to launch in 2020 - the same year that Nissan wants to bring out its car - and Google, which has had self-driving cars tooling around California for several years, is looking at 2017.  So, what we're seeing is real, but the question is what sort of real it'll turn out to be.  Certainly, the possibilities are nothing short of revolutionary - you're looking at, potentially, faster commute times because cars will be able to travel closer to one other (reaction times would be faster than with a human behind the wheel); in addition, fewer accidents and injuries (also a function of reaction times).  But, how well the vehicles work once they get beyond the testing phase is anyone's guess.  California does allow self-driving prototypes car for testing purposes, but that's far different than full-scale authorization.

Whatley: What if something goes wrong?

Lacter: That's one of the big concerns - liability, but the real issue is public acceptance.  Already, surveys are finding reluctance to buying a driverless car, or even having them on the road.  That's not a huge surprise considering how novel the concept still is - and all it takes are a few mishaps to affirm the skeptics.  All of which points to a lengthy transition period - not unlike the early days of the passenger plane, when most folks couldn't imagine getting into a flying machine.  Eventually, they got used to them, but it took time.

Whatley: And finally, some thoughts on Cal Worthington?

Lacter: Certainly one of the great showmen in the annals of L.A. broadcasting - Cal Worthington wasn't the first auto dealer to discover the benefits of commercials, but he lasted longer than anyone else, selling more than a million cars (that according to his count), and grossing billions of dollars.  The Worthington ads are sometimes considered the first infomercials - that might be a stretch, but three factors really made it all come together: Southern California's appetite for the automobile, the ease by which Cal could deliver his schtick (remember when he was strapped to the wing of a biplane?), and the fact that there was so much available air time to sell in L.A.. Definitely a legend in his own time.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

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

The partial federal government shutdown is one week old, but economists are still saying that its impact in Southern California and elsewhere will be limited.

Susanne Whatley: Business analyst Mark Lacter, why is that?

Mark Lacter: If you look back on the history of these things, Susanne, you see that the disputes are resolved before too much damage gets done.  As for Southern California, I notice that KPCC's Alice Walton was asking around over the weekend about the shutdown, and most folks gave it a shrug.  The regional economy is just too diversified - and not especially tied to federal employment.  You have about 46,000 federal workers employed in L.A. County in one capacity or another - that's out of a workforce of nearly 5 million.  And, now it appears as if the federal employees who have been furloughed are going to receive their back wages whenever the shutdown finally ends.

Whatley: That still might make things dicey when it comes time to pay the monthly mortgage...

Lacter: ...but at least money will be available before most folks run into serious liquidity issues.  That's what the shutdown really comes down to - inconvenience rather than dislocation.  And, you see this with the various government services affected: the E-Verify website is down - that lets business owners know whether the people they're wanting to hire can work legally in the U.S., which obviously is important.  The Small Business Administration has stopped processing loan applications, and the Federal Housing Administration is reporting delays in its loan processing, which could mean a home buyer might not complete his or her paperwork all that quickly.

Whatley: But, what if this were to go on for months?

Lacter: Well, then it would create problems, but nobody really thinks that's going to happen.  The real issue, not just nationally and regionally - but globally - is the refusal by Congress to raise the debt ceiling.  The deadline is a week from Thursday, and - of course - there's been all sorts of debate about what this would mean for the economy.

Whatley: All right, so what would this mean for the economy?

Lacter: Well, no one knows exactly.  But, then again, no one knows exactly what would happen if you fell out of a airplane without a parachute.  I just wouldn't want to test it out.  And, of course, let's keep in mind that these are manufactured crises - not reflective of anything that's going on with the real economy.  It's certainly not reflective of anything that's going on in L.A., which saw a big jump in payroll jobs for 2012 - actually it was the sharpest increase since 2005, and nearly double the national rate (that's despite an unemployment rate that remains very high in certain parts of Los Angeles).

Whatley: What about some of the big locally based companies?

Lacter: Well, if your company is publicly traded, there's a good chance your shares took a dip these past few days.  Going back to September 18, the Dow has lost almost 700 points, which - percentage-wise - is not very much, but it is reflective of how uneasy Wall Street has become.  Public companies based in the L.A. area are taking it on the chin - Disney, Amgen, Mattel, DirecTV - their stock prices are all down going back to the middle of September.

Whatley: Even so, hasn't this been a good year for the stock market?

Lacter: It has - those local companies are up anywhere from 13 percent 30 percent year to date, and the Dow is up 14 percent year to date.  Of course, the stock price of a company doesn't always match the amount of money it makes, and this year, even before worries about the debt ceiling, the numbers haven't been as good as they should be at this stage of a recovery.  And, that's why there's particular concern about next week.  You do have to wonder whether a default could have ripple effects involving trade, consumer spending, the dollar - who knows what?  Now, it's still a pretty good bet that saner heads will prevail, although there are no guarantees - and again, if worse came to worse, do you really want to be jumping out of that plane?  Guess we'll find out.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

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

The state's online registration for Covered California has been up for a couple of weeks, and reaction has been mixed.

Steve Julian: Business analyst, Mark Lacter, what's your take on how well Californians are getting into the Affordable Care Act?

Mark Lacter: It's hard to get a good read, Steve, because it's hard to measure the success of what is really a new marketplace.  If you're basing it on the number of unique visitors coming to the Covered California website, well, then the program clearly has attracted lots of interest - they had almost a million visitors during the first week of eligibility.  But, maybe a better measure would be the number of people whose applications actually have been received by the insurance companies that are going to handle the claims.  If that's your measuring stick, then the numbers have been far smaller so far.  Now, it's worth pointing out that California - and particularly L.A. County - have a higher percentage of households without insurance than other parts of the nation, and so you'd expect there to be lots of interest.

Julian: So the question, then, is how many folks turn into actual policyholders paying actual premiums each month.

Lacter: The truth is nobody knows, which is why state officials want to sign up as many people as possible in the early going when the program is getting so much attention.  This is especially true for younger and healthier people who are needed to help offset the cost of caring for older and sicker people.

Julian: And, that's also why any computer glitch can be such a headache...

Lacter: That's right.  Covered California did run into problems in the early going, but everybody agrees that things are going much better than the federal website, which is the default site used by folks in states that don't have their own program to oversee the health care laws.  That federal site has been an utter disaster.  So, by comparison, California is ahead of the game.

Julian: It's a work in progress, even here.

Lacter: Very much so.  The California website still doesn't have a way for enrollees to find out which doctors and hospitals are included in each health plan.  And, that's a big deal because  insurance companies are limiting the options available as a way of keeping premiums low.  So, it's possible that the doctor you had been using for your individual insurance plan will not be on the list of doctors that can be used for one of the cheaper plans.  Of course, for someone who doesn't have any health coverage, none of that is likely to matter.

Julian: And then, there's the continued threat of a U.S. default...

Lacter: You know, Steve, this is like watching the beginning of a bad traffic accident in slow motion - and we're all pretty helpless to do anything about it.  And, so are the financial markets, which are moving back and forth not based on what's going on with the economy or with any industry, but on the latest press conference out of Washington.  One thing we do know is that if the nation does go into quote-unquote default - and we're not even sure what that might mean - but if Wall Street and somehow declares this a major crisis, it's going to be bad.

Julian: Who gets hit?

Lacter: It'll impact anyone who has a retirement account, any business wanting to borrow money, and potentially it's going to impact the budgeting of the state.  You know, one of the things we were reminded of during the Great Recession was how reliant California has been on higher-income individuals who make a lot of their money through the stock market and other investments.  So, when those folks do well - as they have been over the last year - the state coffers will do well.  And when they don't, as was the case in 2008 and 2009, the state takes a huge hit because there's not enough tax dollars coming in.  Gov. Brown and others have tried to lessen the reliance on those top tiers - so far without success.

Julian: And the state's budget situation is so much better than it was a year or two ago.

Lacter: That's the real pity.  And, even if the House and Senate reach a temporary agreement on the debt ceiling, it's just a matter of weeks or months before another deadline crops up - and more uncertainty for the financial markets.  I guess Chick Hearn would have called this nervous time.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

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

It's late October, which means  more and more stores are decorating for Christmas. 

Steve Julian:  Business analyst Mark Lacter, whatever happened to "better late than never?" 

Mark Lacter: Steve, retailers never want to sell late because it often means having to reduce the price. They're looking to start out as soon as possible - these last three months represent their biggest payday of the year. And here in California people do seem to be buying stuff - consumer spending has been up for 14 consecutive quarters, going back to the spring of 2009, and taxable sales are up almost 5 percent from the peak levels before the recession. Another good sign is Chapman University's index of consumer sentiment, which is at its highest level since the beginning of the recession in late 2007. All these indicators explain why the state economy is generally outpacing the rest of the nation.

Julian: There has to be a "but" in here someplace…

 Lacter: The "but" is that only 60 percent of the jobs lost during the downturn have been recovered, and the unemployment rate in many parts of the state, including L.A. County, is still at or above 10 percent, which isn't what you'd call a healthy economy. And that's why holiday shopping this year could end up being sort of hit and miss. Folks who have well-paying jobs and a bunch of their money in the stock market - and Southern California has its share of both - those folks will probably be spending good amounts. 

Julian: Are there geographic tell-tale signs?

Lacter: The closer to the coast you go, the more spending there's likely to be. But it's a different story if you're feeling vulnerable about your job or in the amount of savings you have in the bank. So you have retailers once again coming up with ways of reaching as many budget-conscious folks as possible, as early as possible. The most obvious move is opening their stores on Thanksgiving night - Macy's is the latest of the chains to get a head start on Black Friday (Target, Kohl's, Walmart and J.C. Penney will also be open). Another strategy is matching your prices with the prices on Amazon and other online retailers - also, retailers will use mobile apps and arrange in-store pickup of online purchases. All told, expect holiday sales to run 3 percent ahead of last year, with the L.A. area likely to be a bit higher. Decent, but not great.

 Julian: What's the message to consumers now: buy or not buy?

 Lacter: Well, we'll start with the good news - gasoline prices are at their lowest level since the beginning of the year, with an average gallon of regular in the L.A. area running $3.75, according to the Auto Club. And barring any refinery fires or international catastrophes, the numbers might keep falling into November and December, which could incentivize consumers to buy a little more at the shopping malls. Here's some more good news - the L.A. area has seen a huge drop in the number of homeowners who are underwater, which happens when the value of a property is less than the amount that's owed on the property. This of course was a big problem during the recession, but over the last year the median home values have gone up between 20 percent and 30 percent. 

 Julian: And if your equity is positive instead of negative, you'll probably feel more confident about spending. 

 Lacter: That's right. But there are also deterrents to spending - as has been reported, a few hundred thousand Californians lose their individual health care policies by the end of the year because their plans don't meet the requirements of the Affordable Care Act. Policyholders will be stuck in many cases with a premium increase, possibly a big increase. Now it's possible that in the long run these folks will be better off with a more inclusive plan that results in lower out-of-pocket expenses. But it'a hard to ignore the sticker shock of having to shell out, say, $250 a month instead of $100.

 Julian: There goes the holiday list...

 Lacter: For those folks, yes. And even though L.A. consumers do a good job of separating their feelings about Washington with their desire to spend, the economy is bound to slow down a little. So Steve, just don't count on that $9,000 fur vest I was going to get you for Christmas. Sorry about that…

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

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

US President Barack Obama and Republican Presidential nominee Mitt Romney debate on October 16, 2012 at Hofstra University in Hempstead, New York. Undecided voters asked questions during a town hall format.; Credit: STAN HONDA/AFP/Getty Images

There continue to be questions about how moderators approach Presidential debates and about whether the extra time President Obama has received in the first two debates indicates moderator bias in his favor. 

I had chalked up the concerns to Republican hyper-partisanship, such as we saw with many Democrats criticizing Jim Lehrer for his moderating — as though Obama would’ve won the first debate if only Lehrer had asserted himself more.   However, even CNN has been doing significant follow-up on its own Candy Crowley’s performance in debate number two. 

Maybe it’s not just hardcore GOP loyalists who are questioning Crowley’s decision-making on when to cut in and when to allow the candidates to take more time. I thought she did pretty well, but there are plenty of critics.

As someone who has moderated hundreds of debates, I thought I’d share my thoughts on what we’ve seen so far in this election. Though I’ve never moderated a Presidential debate, with its incredible level of attention, concern about rules, and demands by campaigns, there are certain fundamentals regardless of the office or issue at stake.

Time Doesn't Matter...Too Much
First, as strange as this may sound, the time taken by each candidate has little to do with who has an advantage.   Yes, it’s always possible for a candidate to use another minute to fire off the defining line of the night. However, the well-practiced zingers or essential policy explainers are not left to the end of a candidate’s statement, as the clock is running out. 

I’m sure Mitt Romney wasn’t thinking after the last debate, “If only I would’ve had that extra 90-seconds, and Obama hadn’t gotten 90 more than he deserved.”  Both men front-loaded their major talking points and were going to get them in. Neither man could legitimately say he didn’t have a chance to make his strongest points. At some point, a time advantage could make a difference in who wins or loses, but an extra 90-seconds in a debate longer than 90-minutes isn’t going to do it.

Serving The Audience
As a moderator, you also have to think about what best serves your audience. I never guarantee candidates equal time, as it’s my job to serve the listeners, not their campaigns. I strive to get close to equal time, but can’t make any guarantee. Some speakers get to the point succinctly and have their points well put together. Others are messier in their arguments and eat up time just building up any head of steam. 

If the moderator holds to a strict time limit, you run the risk of frustrating listeners by cutting off the rambler just as the candidate is getting to the point. There are methods a moderator can use to help guide the speaker toward being more succinct, but there’s no guarantee the person will be able to comply.

Isn’t this inherently unfair to the succinct speaker? No. The purpose of the debate is to allow the ideas to compete.  It’s not a boxing match that’s about landing punches in a given time. The succinct debater has a big advantage, regardless of how much time the candidate has. That’s why Mitt Romney’s victory in the first debate was so lopsided — he won on the conciseness and clarity of his answers, coupled with Obama’s inability to get to his central points.  Obviously, there are those who thought Obama’s arguments were still more compelling than Romney’s, and that Romney lacked essential details.  However, for most viewers of the first debate, it was stylistically no contest.

Equal Time Is Not A Guarantee
When candidates are allowed to talk to each other directly, it’s very difficult to assure equal time. Even CNN’s clock that registers elapsed time for each candidate is subject to squishiness. Unless a debate is extremely formal, with carefully controlled time limits and a ban on candidates following-up with each other, you’re only going to have an approximation of time balance. I thought Crowley did pretty well to land the second debate with the balance she did. I’m not sure I could get it that close for a debate of that length. She had the added challenge of trying to determine when to cut in on President Obama’s lengthier answers. Also, Romney’s speaking rhythm allows more space for interruption. It’s tougher to break in on Obama.

Moderating Is A Balancing Act
Moderators are always trying to balance a need to move on to the next topic with allowing a candidate to answer an opponent’s charge. Sometimes, you open that door for a candidate, only to regret it later when the politician starts into a monologue, instead of confining the response to the previous challenge. Sometimes moderators, having gotten burned, will become less tolerant of such expansive rebuttals, as the debate goes on. Moderators are always juggling competing goals, and it’s a difficult job (at least for me).

Unfortunately, there are those who think debate moderators attempt to influence the outcome of the debate and the performances of the candidates. Maybe I’m naïve, but I can’t imagine any journalist who’s worked hard enough to get to the position of Presidential debate moderator subordinating his or her career in an effort to getting someone elected. Mainstream political journalism is like national sports reporting. You really don’t care who wins the Super Bowl, you want great story lines to explore with your audience. Yes, sports reporters have affinities for the hometown teams of their youth, but that can’t compete with the professional goal of covering great stories. 

Yes, most journalists in mainstream media probably have a stronger cultural and political affinity for Obama, as he’s more like them. However, it doesn’t mean a journalist is going to sacrifice the better story to intentionally provide a benefit to the President.

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

When "Offramp" host John Rabe's father, Bill, created the list at Lake Superior State University in Michigan he likely didn't know it would thrive nearly 40 years later.  As language evolves there should never be a shortage of words and phrases we want to "kick to the curb."

This morning on "AirTalk," I asked listeners to pick the ones they "hate on."  We got some good ones, including my overused "unpack," as in "let's unpack that idea."  Falling into word patterns can happen so subtly that we don't even know it until someone points it out.

My nomination for the list -- "it is what it is."   What are yours?

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

After the San Francisco 49ers beat the Atlanta Falcons for the right to go to the Super Bowl, I tweeted my appreciation of a California team going to the game.  If no local team is in the running (or exists), I'm always glad to root for a Bay Area team that makes it.

My tweet got responses from some Southern Californians who have no interest in supporting a San Francisco team, especially given the Giants' World Series championship.  It goes without saying that many Dodger fans are loathe to support the Giants, under any circumstances. 

Given the historic bad blood between the teams, that's no surprise, but I think it runs even deeper.  The divide between Northern and Southern California is about more than sports, or even water rights.  It's rooted in distinct cultural differences between the two.

However, California has evolved to the point where the bigger cultural divide now might be between coastal and inland regions.  Rural Northern Californians typically dislike San Francisco far more than Angelenos do.  Similarly, inland Southern California residents often see Los Angeles as the prohibitively expensive home of two-hour traffic jams.

Until the Inland Empire or the San Joaquin Valley get major league teams, we won't see that rivalry playing out at a stadium near you.   In the meantime, I'm cheering on the Niners, and my state, on February 3rd.

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.

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.

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.

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 apartment in Pomona that leases through the Housing for Health Program. (Matt Tinoco/LAist)

Our California Dream collaboration is looking for solutions to some of California's most pressing problems, in this case, homelessness. An initiative in Los Angeles seeks to save taxpayer money by housing some of the most vulnerable residents — those who cycle from the street to the emergency room and back again.

The California Dream series is a statewide media collaboration of CALmatters, KPBS, KPCC, KQED and Capital Public Radio with support from the Corporation for Public Broadcasting and the James Irvine Foundation.

READ THE STORY AT LAist.com.

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

Julio Osorio stands in the Valhalla Memorial Park Cemetery near his mother's grave. (Emily Elena Dugdale/KPCC); Credit: Emily Elena Dugdale

The devastating Woolsey fire broke out one year ago. In Malibu, it wreaked havoc not only on hundreds of homeowners but also on the day laborers, housekeepers and gardeners who traveled to the city to work in its affluent neighborhoods.

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

Embattled Korean Resource Center board president DJ Yoon takes interviews in a photo dated February 2014. ( ; Credit: Korean Resource Center via Flickr

In Los Angeles, another Asian American civil rights organization is in upheaval. A month after major layoffs at Asian Americans Advancing Justice-Los Angeles, the Korean Resource Center has lost more than half of its staff.  

The Korean Resource Center  is a leading advocate for low-income and undocumented Koreans. Its organizers worked on flipping Orange County from red to blue. Its legal staff provides free aid to immigrants. But 18 people have left in recent weeks, many upset with board president DJ Yoon and his management style. 

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

The Asian Garden Mall in Westminster, where voters will make a choice about whether to recall city leaders.; Credit: Dorian Merina/KPCC

Voters in Westminster will decide this spring whether to recall its mayor and two city councilmembers. The Orange County Registrar of Voters has signed off on petitions for a recall election.  

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

Albert Rad, a mobile phone wholesaler who fled religious persecution in Iran decades ago, said that he fully backs President Trump's decision to assassinate Iran's top military commander. ; Credit: Josie Huang/LAist

Los Angeles is home to the largest Iranian population outside of Iran. The killing of top Iranian commander Qassem Suleimani is generating some strong emotions here. KPPC’s Josie Huang reports from Persian Square in Westwood. 

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

Donations fill up the entryway to a Goodwill Southern California Donation Center in Pasadena during the first week of 2020.; Credit: Carla Javier/KPCC

Now that the holiday season is winding down, thrift shops run by Goodwill, the Salvation Army, and other organizations are tallying up the annual flood of December donations. 

"It's always been a tradition that our donors donate between Christmas and New Year's ... and the last couple days of the year, they donate even more," Goodwill Southern California director of logistics Tinna Bauer explained. "Some do it for tax purposes, and some ... when they if they receive new items for Christmas, they clean out the old."

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