The news seems better on Tropical Storm Isaac and its potential threat to next week's events. However, from network news, you'd never know it mattered much if the storm damaged other countries or American cities outside Tampa. Isaac coverage is a wonderful example of how we as journalists care so much about something when we'll personally be affected.

Monday morning at 10 we begin our live coverage from the convention. Patt Morrison will follow at 11 with an hour of regular talk programming. I'll be back at 1 p.m. for another hour from Tampa, followed by Patt at 2.  We'll follow this schedule for the days of the convention, Monday through Thursday.

Patt will make her way to Charlotte, North Carolina for the Democratic Convention the following week. It will be fun to compare the cultures of the two conventions, aside from the platforms and PR spin we'll be exposed to for two straight weeks.

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

Larry Mantle interviews Tom Brokaw at the 2012 Republican National Convention.; Credit: Lauren Osen/KPCC

Our trip to the RNC in Tampa is coming to a close, but we’ve spent time with so many interesting people that our memories will stay strong.  We hope you’ve enjoyed the photos, tweets, and blog postings that have expanded our coverage beyond what we provide live on the air two hours a day.

This is the first political convention where KPCC has used multiple ways of bringing you here without time off from work or having to take a plane ride.  There are many great stories to tell and people to share.  We trust our photos give you a more complete sense of how much goes on at a massive convention like this.

For KPCC journalists, it’s particularly exciting to interact with you in these new ways.  We welcome your tweets and retweets (@AirTalk), comments on our blog postings (www.kpcc.org/blogs/politics), and feedback on our “AirTalk” segment pages. 

All this helps create a real-time way to connect listeners and users of social media in one big conversation.  We hope you enjoy taking part in the convention with us, as much we enjoy sharing it with you.

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

It’s good to be back in Southern California after a week in the hothouse of Tampa.  I mean that in both the weather and political senses.
Even though we were largely inside from 9 in the morning to 11 at night, every trip outside provided exposure to extreme humidity and more than 90-degree temperatures.  Couple that with a long wait through security to get back into the building and there wasn’t much incentive to go anywhere.
On the political side, I forget (or block out) how intense these party conventions can be.  It’s an alternate universe, where most everyone recognizes even minor national political figures.  It’s like walking through Beverly Hills with an editor from People magazine.
It makes me feel at a bit of a disadvantage, as a generalist who talks a lot of politics, but doesn’t devote himself to it exclusively.  When you hear some of the political reporters from around the country, there are times it sounds more like advanced math than policy.  From delegate counts to Congressional seats in play to dueling budget scenarios, it gets highly detailed very quickly.  The first couple of days of the convention, I feel like I’m trying to catch up and get my head around all the subplots.
Of course, just as I start feeling like I’m getting it down, we come home.  Regardless, I have terrific memories of the week.  Out team of producers, engineers, and reporter Frank Stoltze really enjoyed working together on your behalf.  Let’s do it again in four more years.

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

We started our new schedule for "AirTalk" this week. With the expansion of "Brand & Martinez" to two hours, we're now on from 11 a.m. to 1 p.m. Friday's Film Week on AirTalk moves into the noon hour.

I’ve been asked many times in the past couple of days how I feel about the shift. My answer is that it’s working out great for our “AirTalk” team.  We still get in at 8 each morning, but now have three hours to prepare our timeliest topics. It also puts us into the noon hour, where we have the chance to connect with folks heading to lunch. 

I know it’s not all good for some listeners, who might have a harder time listening an hour later. There are also, undoubtedly, fans of “The World” who would’ve rather had it stay at noon instead of moving to 2 p.m. I hope you’ll give us a chance in the new slot and that you find the new lineup still fits your schedule. 

If it doesn’t, remember that you can hear all of our local programs online, at the time of your choosing, at www.kpcc.org.

As for the irreplaceable Patt Morrison, she’ll continue to provide her talents to KPCC listeners with regular features and interviews throughout our day. Though I know many fans of Patt are very sad to see her daily program end, I think Patt’s high-profile segments will be a terrific boost to all the other shows where they’ll be heard.

This will make Patt a presence everywhere on our schedule, including “AirTalk,” which is pretty exciting.

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

I know these Presidential debates aren’t debates in the historical sense.  Regardless, I’m looking forward to seeing how both men do on a topic of immense complexity.  Is Mitt Romney going to be more forthcoming about what tax deductions he’d want cut to keep his tax reform plan from ballooning the deficit?  Will President Obama  give more detail about how he would improve the economy, short of a government stimulus that could never get through a GOP Congress?

I’ll be live tweeting during the debate.  Join me @AirTalk #debates.

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

In the second of the three Presidential debates, President Obama displayed the passion he lacked the first time around.  He also made his arguments more concisely, and didn't shy away from direct engagement with Mitt Romney.  Snap polls after the debate show most viewers and listeners though Obama won the debate, though the percentages weren't nearly as overwhelming as Romney's advantage last time out.

Will the President's apparent victory show up in the polls as dramatically as Romney's previous win?  What will the stakes be like for next Monday's final, tie-breaking, matchup?

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.

His expression said it all.  KPCC Director of On-Air Fundraising Rob Risko walked into my studio about 10:45 a.m. to update me on where we stood with our Fall member drive.  I knew we had a $10,000 challenge that had started first thing in the morning, but didn't have any idea how far behind we had fallen in reaching the required 1,000 member threshold.

 Rob gave it to me straight -- we had to attract well over 500 members during "AirTalk" to meet the challenge.  I knew that was nearly impossible during a full two-hour show, let alone one that would be significantly pre-empted by the President's news conference.  Regardless, I knew we had to do our best and hope our listeners would contribute in a record-setting way.  Boy, did they.

We didn't start our show until 11:25 a.m., following the news conference.  Right off the bat the phones started ringing and the KPCC website starting humming.  The volume of member contributions stayed high with only a few exceptions.  There were times we could barely keep track of how many members were coming in.  It was one of the most exciting and rewarding experiences I've had in all my years hosting "AirTalk."

I've been on a high all afternoon thinking about how commited our listeners are to the mission of KPCC.  You've made me very happy, and very proud of our audience.  Thank you for a wonderful show of support.  I will long remember this day.

By the way, we set a fundraising record for "AirTalk" with today's show.  We're still tallying it all up.  I'll have the totals for you tomorrow morning at 11.

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.

Director Michael Apted (L) with Larry Mantle in the AirTalk studio.

This past Wednesday on "AirTalk," film director Michael Apted came in to talk with us about his eighth documentary in the series that's followed the lives of 13 people, beginning in 1964 when the kids were seven.  They've shared their stories with Apted every seven years, and he's clearly invested a lot of emotion into this project.

"56 Up" is wonderful for how it shows the mid-life evolution of the participants.  Apted includes scenes from earlier interviews, so that we see what aspects of today's 56-year-olds were present in childhood and what turns their lives have made over these years. 

"56 Up" is showing at the Nuart in West Los Angeles, and Apted will be doing Q-and-A at some of the screenings.

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.

Pictured: Larry broadcasting AirTalk from the Mantle household for the first time last Friday.; Credit: Larry Mantle/KPCC

Dear KPCC Listener,

I hope you and your family are staying safe and healthy during this pandemic. We’re doing well at the Mantle house, but with Kristen and our son Desmond working and studying at home, we’re experiencing some of the same daily logistical challenges you likely are. With that in mind, I’d like to update you on the dramatic changes that have occurred with AirTalk during this time of COVID-19.

Every day a noted medical expert is joining us to answer listener questions. It’s allowed us to stay on the cutting edge of COVID-19 and public health developments.

We’re also continuing to convene the largest conversation anywhere in Southern California, but with a new focus. Each day listeners are describing how they’re dealing with the coronavirus, whether staying at home or providing essential services to our community. We’ve heard from students studying online, truck drivers looking for open restrooms on the highway, restaurant owners and employees wondering when, or if, they’ll be able to reopen, and listeners living in their cars seeking a hotel room or shower. In 35 years of hosting AirTalk, I’ve never experienced a time of greater importance for bringing Angelenos together. It’s vital that we talk with - and hear from - each other as we meet this experience together.

This wasn’t how I’d anticipated the 35th anniversary month of AirTalk, but I’m deeply appreciative of the work our dedicated producers are doing while they work from home. A prime example came last week when a hospital emergency forced our physician guest to cancel shortly before airtime. Our producers leapt to action, quickly finding noted infectious disease specialist Dr. Peter Chin-Hong to step right in.

When we finished the live segment, I thanked Dr. Chin-Hong for dropping his important work at UCSF Medical Center to join us. He replied that it’s always a pleasure to speak to one of his favorite audiences.

I couldn’t agree more. KPCC listeners are deeply devoted, not just to their favorite programs, but to the irreplaceable mission of KPCC. We’ll do everything we can during this difficult time to serve that mission – by serving you. Thank you for giving us that opportunity.

Sincerely,
Larry Mantle
Host, AirTalk

P.S. KPCC has always been funded by listeners, and member support is truly critical at this time. With recent substantial losses of sponsor support related to the pandemic, every donation makes a tremendous impact for this vital public service. If you can, please make a gift today to sustain the journalism you and your community needs.

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

In case you missed the March for Science, last month?  I have the report!  Not that I went, no. Science enthusiasts all, my household was planning on going—  But then my younger teen daughter got felled by "bacteria"—  Possibly brought on by a dubious "pizza day" at her science magnet.

So I spent that Saturday at home, taking care of her— But we streamed the Washington DC and other marches, live on CNN!  So here is my report!

Let's quickly review the main points.  Worldwide, there were 600-plus cities participating, with high levels of enthusiasm.  The March for Science's stated mission was to be a positive, non-partisan march for scientists and scientific principles.  That alone is such a wonderful, counterintuitive idea.  Much humor and wit was seen.

As I did not get to go, and make my own hilarious sign—?  To honor the spirit of the occasion I would like to share two favorite jokes.

First: How do you tell the difference between an introverted and an extroverted mathematician? 
For the whole time the introverted mathematician is talking to you, he looks down at his shoes.  When the extroverted mathematician talks to you, the whole time he looks down at your shoes.  Ba-dum-bum.

I know I used the pronoun "he" in that joke—  As if to imply all left-brained people are male.  But no!  So here's the saying from when I attended Caltech—  Way back in the '80s—  And the male to female ratio was 7 to 1.  "Caltech: where the odds are good, but the good are odd."

Now to some of the funny—and sometimes punny—March for Science signs:

"If you're not the solution, you're the precipitate!"

That was next to: "Protest Cosine, Protest Sine."  Get it?  Protest. . . Sine?  Puns are hard on the radio.  So let's finish with the more "meta": "What do we want?  Evidence based research!  When do we want it?  After peer review!"  

Of course, there were less than non-partisan messages, too.  Just reporting here?  There were signs with the phrases "Black Hole" and "Absolute Zero" ghosted over our president's recognizeable silhouette.  The live feed from San Francisco brought: "Trump believes there's no global warming, as nothing is hotter than Ivanka."

That one made me snort, but I had to quickly tell my daughter, "that is totally inappropriate."
We decided a good sign was: "Mitosis, Not Division."

And a cute one on a dog that everyone can agree on.  "Support Labs."  Labs. 

Next week: Science is Love!

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

 
So, my 15 year old science magnet daughter and I experienced last month's exciting March for Science—!  From home, as she was temporarily felled by some bacteria.  Consuming an unscientific "cure" of chocolate pudding—?  We watched the march on CNN.

Now, the news changes so quickly you may not remember that just one month ago—?  There were shock waves due to proposed massive federal budget cuts—  Not just to climate change research, but to—surely the more non-controversial —National Institutes of Health.  I mean, health?  Who's anti-health?  Even MacDonald's is serving apple slices now, and kale!

The march was a mix of passion and fun. There were lots of great signs, including one with the classic line: If you're not the solution, you're the precipitate! Marchers came dressed as Einstein, dinosaurs, polar bears.

Then again—  And admittedly, at home, we were wearing bathrobes rather than labcoats—? A couple of humble notes.

 Some of the speakers in DC were less scientists than YouTube science explainers.  And pure research scientists—not to mention philosophers—might question some of the applause lines.  And I quote: "Science is inherently political!"  "Science is objective, but it is not neutral!"  What?  Then some of the marchers chanted back, with a decided New Age lilt: "Science is hope!"  "Science is our planet!"  "Peace, love, science!"  

I heard myself grousing to my daughter: "Sure.  It's like 'Nature.'  To some, 'Nature' is a beautiful flower.  But 'Nature' is also Stage 5 hurricanes and poison frogs who eat their own offspring.  And—and pitcher plants!  Have you seen pitcher plants?" 

The chants continued:  "Health is science!  Safety is science!  Clean water is science!  I yell at the TV: "PS: Nuclear missiles from North Korea?  SCIENCE!"

There were also heartfelt pleas from the stage for more "K-12 hands-on STEM-based learning."  I sympathize. I marched for that when my daughters were in elementary school.  Of course we want our children to be turned on to science—  To the classroom volcanos comically exploding with baking soda. To the wonders of milk carton pea plants, sunny farms of ladybugs.

But eventually, inexorably, comes The Ugly.  The multiplication tables, long division, algebra, trig, then calculus, if a career in science is really being pursued.  I just heard about a senior I know, an exceptional—and well-rounded—student.  He has a 4.5 GPA and almost-perfect SAT's, nosebleed-high!  But he has been shut out by all the UC's he applied to, including his third choice, UC San Diego.  Mwah!  SCIENCE!

Still, quibbles aside, science is the future.  We applaud all, and must forge on. Chocolate pudding recommended.

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

Life is already hard enough, but with teen daughters—  of which I have two, ages 15 and 16 -- well, let's just say that, what with everything going on these days, my mind is a bit addled. And my latest TV obsession isn't exactly helping.

"I have such a sense of dystopia," I complained to my friend Carol. 

She replied: "Maybe you should stop binge-watching The Handmaid's Tale!

It's true.  I've watched so many hours of The Handmaid's Tale, I've started to involuntarily greet people with, "Blessed be the day," "Blessed be!"  If that's not  familiar to you, you're probably not aware that in the oppressive futuristic society depicted here—?   Fertile young women are farmed out to "commanders" and forced to have sex with them between their wives' legs, in order to birth mutant babies. . .

I'm old enough to remember "Happy Days."  Do you remember the sitcom "Happy Days"?  What was it about?  Days. . . that were Happy!  Teens hanging around the jukebox!  With poodle skirts!  The Fonz!  Having shenanigans! 

So I resolve to turn off the news—  Except for the headlines that actually leap out of the radio—  And maul you, like a wolverine—   Ever seen that?  Anyway—

I also take a break from The Handmaid's Tale—  I turn instead to the comedy Grace and Frankie, with Jane Fonda and Lily Tomlin!  I embrace their comforting presences like the stylish pashmina throw either might wear—  If The Cheese Nun was still on?  I would binge-watch that!  Very reassuring.  The Cheese and the Nun.

But then I start getting emails -- the Concerned Parent E-Blasts I don't recall ever signing up for, a la—?  "Does your teen get enough sleep?"  No.  "Is your teen ready for the SAT?"  No. "Does your teen eat too much sugar and waste a lot of time?"  Yes.   Apparently that's abnormal behavior and there's medication for that.  Good to know!

 Well—  The truly alarming news is that—  Often unbeknownst to their parents— All of our teens are secretly watching this new TV series called "13 Reasons Why."  As in, 13 reasons why this teenage girl commits suicide.  She leaves behind the reasons in a box of tapes.  One reason is rape.  Shown on screen. 

It's a long way from Happy Days.

As a responsible parent, I need to talk to my daughters. . . about this show.

 Next week: A Visit with Dr. Mom.

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

Life is stressful enough.  And now—?  I've been getting all these alarming missives from parenting organizations about the Netflix series "13 Reasons Why."  As in, 13 reasons why this teenaged girl commits suicide—  Which is depicted on screen, as is a rape!  Yikes!  Apparently all teens are secretly streaming it, so we parents need to open up the conversation.

But then I'm thinking: What if my two teen daughters are the only teens not watching it?  And then my raising the topic would be—what do you call it?  A trigger?  It's so confusing these days!  College campuses are full of "safe spaces"—  But middle schoolers can stream suicide shows!

And my younger daughter?  She's already fluttery, like a leaf.  Sample text—and I can't convey how terrifying these words look on one's phone: "Mom.  Mom.  Mom.  Please!  I'm so scared.  I don't know what to do!  Help me!"  Situation?  She was in the bathroom at Starbucks and the toilet wouldn't flush.  Fortunately Dr. Mom was right outside the door.

So with this one, driving home from school, I just ask, with an odd vague heartiness: "So. . . What movies or TV shows are all the kids watching these days?"

"All the kids?" she says.  "What are you talking about?  What kids?"

"You kids!" I say.  "You!  You and your peeps!"

"What?" she says.  "Nothing."  She goes on instead to describe her traumatic field trip.  Instead of studying tide pools at a nice quiet museum, her class went to the actual beach!  She slipped on a rock and all these kids from the Medical Magnet too-eagerly stormed her with gauze and bandages! 

Okay.  I'll let that fragile kid be.  Now it's on to my older, more sophisticated daughter.  The one with the nose ring—at least it's fake.  I ask her bluntly: "So, what's the deal with this '13 Reasons Why' show?"

 She groans.  "I already read the book back in sixth grade."
 

"In sixth grade?" I exclaim.

Apparently at her old middle school, everyone was reading books about teen suicide—  Which appears to have been an actual cottage industry, possibly it's own Young Adult genre.  Sheesh!  What happened to Nancy Drew?

She says she did watch the show but stopped during the rape scene, which was a bit much.  In fact, now, on social media, the show's premise had surfaced as a joke meme.  As in, "I asked to borrow a pencil.  You said you didn't have one."  Ominous pause.  "It's one of the 13 Reasons Why." Ba-dum-bum.

In the end, Dr. Mom felt a bit out of her league.  I guess I'll just have to trust that the teens are going to be fine.  And to be on hand to flush the toilet.}
 

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

True story.  It may not be incredibly exciting, but it's true!

So!  I work at home, on my laptop—  Writing, editing, corresponding—  In between I pay bills, schedule appointments, shop online for household necessities—  In fact, in spring my to do list got so long I just took to bed.  Oprah-style!  I'm pretty sure she does that— I remember seeing something like it in O Magazine.  Oprah's office is less a conventional box with desks than a soft boudoir of inspiration.  With cozy couches, pashmina throws, vases of fresh cut flowers.

So in the name of what we women of a certain age call "self care"—   I would plump pillows behind me, place my laptop on a blanket in front of me, sip herbal Teavana and I would type mindfully away for hours and hours.  And one afternoon?  I see it's time to pick up my kids from school—  So I swing my legs over the edge of the bed, put my weight on them, and— 

I can't walk!  I literally can't move!  My left hip is completely stiff!  Maybe Oprah has people turn her during the day!  As for me, I could star in that commercial: "I've fallen down and I can't get up!"

I drag myself down the stairs, hanging on to the bannister like an 85 year old.  Correction!  When my now-96 year-old dad was 85, he was doing handstands on the beach and swimming in the ocean!

And I realize, I've come to the age of that dreadful saying: "Use it or lose it."

I used to engage in regular exercise, it's true.  My VISA bill—  So heavy to lift!  Suggests I even pay monthly dues to a gym.  But I don't have the vanity I once had.  Since turning fifty, I've acquired this new "menopot" on my belly.  First I was panicked.  But then I discovered "mom jeans" and even better, at Costco?   Next to a $500 above-ground family pool?  A heap of "Ladies Power Stretch Capris."  How do I look in them?  Fortunately I don't see very well in my Costco glasses. 

And anyway, I have two teen daughters at home, for three more years.  I'd started thinking: if I don't go to the gym, that's 90 minutes more in the day.  90 more minutes to not argue with them and just go buy the strawberry pineapple shampoo they're always requesting—  And Prismacolor gray chisel tip markers—  And mochi, has to be the green tea mochi—  Flabby upper arms are a small price to pay for peace in the house!

But now I can barely even get to the car and, oh no!  Can I even push the gas pedal?

Next week: Fear and Loathing at Zumba

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

I had taken to working at home, on my laptop, in bed. But, talk about first world problems!  After working in bed all day my hip went out and I could barely walk.

So I realized—  I had to return to the gym.  Where I hadn't been for a few weeks.  Or maybe a couple of months.  Where was my gym bag?  In the trunk of my car, under some. . . Christmas stuff that I was planning to return.  OK, so it had been half a year.  Closer inspection revealed there were no less than two locks in the bag, both locked forever—  Because so much time goes by between gym visits I forget the combination. 

The first thing I notice, when I return to my fancy, brightly-lit yuppie gym, blinking like nosferatu—  Is that if I'm going to show up for classes like Cardio Barre, I need better outfits.  All the other Cardio Barristas are in stylish Lulumon wear—  These sort of fabulous. . . yoga. . . leotard. . . cat lady. . . jazz pants—  From the future—  And I am basically wearing floppy board shorts.  With paint on them.  I have come dressed to clean out my garage. 

So I purchase some athletic leggings, pair those with a tank—  Now I look in the mirror and realize—?  Stylish workout clothes only accentuate the fact that my body's not like everyone else's.  My hips are bigger than my waist.  I'm pear-shaped.  All the other Cardio Barre ladies have lean tomboy bodies like swimmers.  Who are they?  How much do they train?  Is cardio barre their actual job?

I switch to Zumba, where the crowd seems more mixed—  Which is to say, now there are also men in shiny leotard jazz pants.  And listen.  I'm not invested in being good at Zumba, the international Latin dance fitness sensation.  I'm a fiftysomething Chinese-German Lutheran.  You know how they say, "The Rhythm is Going to Getcha?"  Well, it doesn't.  And when I'm bested at Zumba by an 80 year old woman in a tennis skirt speaking Cantonese?  The ego smarts.

Thank God for Cardio Broadway.  My spirits rose when I saw a line of gold top hats along the mirror.  "One!  Singular sensation!"  We began with Cabaret.  "Wilkommen!  Bienvenue!"  To little knee bends and plies.  But then our too young, too hip instructor starts going, "And this next number's from Hamilton!"  Haven't seen it!  "And this is from Kinky Boots!  Newsies!"

Now, I've got my boss futuristic outfit, but I prefer an old-fashioned jam – say, Fiddler or Sound of Music. I guess I'll have to join the Senior Center.  Where they do "Broadway" with walkers.

That's more my speed.
 

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

When I was a kid, it was clear, when traveling with my family in summer—That we were cosmopolitan in attitude, but bohemian in cash.  We would criss-cross Europe, yes—  But we were car-camping, our luggage strapped to the roof of our shuddering VW fastback.  Lunch was sweaty cheese and days-old ham from an unrefrigerated metal cookie tin.  The bathrooms in our one-star hotels were. . . shared.

When I travel now with my teen daughters, I'd say we are basically middle-class—?  But due to the complexity of mom's travel points—?  We never know if we'll have a first or third world experience.

For instance, recently, using air miles, we flew United to Denver for free!  Mostly.  I splurged on the extra hundred dollars so we could actually sit together, rather than, as Basic Economy requires, being seated randomly all over the plane.  I did not allow any extra bags carried or checked, because my girls may one day go to college.

Kayak-ing the white water rapids of cheap car rentals, I'd found a company called ACE offering a tiny car that looked like a Yugo—  But, as they used to say at IKEA, "Impossible Price"! Upon arrival, I find out why. Our instructions? Walk past the Ground Transportation counter, get into "lane four," then turn left and walk half a mile, past all the Avis, Budget and Enterprise signs and wait, literally, and I quote, "under the sign that is blank."

 "I know that we're not Platinum members of anything," I grouse to my daughters, "but standing under a blank sign?  Can ACE at least not tape their logo up there?  It's so humiliating!"

"Maybe they didn't have enough money to commission a logo," says my older daughter.  Shuttle after shuttle whooshes by.

 "We'll be lucky if the car has four wheels!" says my younger.

Forty-five minutes later, the ACE shuttle finally arrives.  I'm strangely comforted that there are other passengers, as humiliated as we are.  We are the people too cheap to get a real rental car.  None of us make eye contact.  We study our crumpled Expedia printouts as though we are important business travelers splitting the atom.

We are shuttled to the far side of town.  Though not quite a van down by the river, the rental office is in fact a trailer. 

On the upside, we are led to a vehicle that, while splattered with mud, is a giant black Ford Explorer.  Added plus: it comes loaded with Sirius 1970's Radio!  The minus —  The first song that comes on is The Captain and Tenille, "You Better Shop Around!"

Next week: Running on Dr. Pepper, dry shampoo and Special K.

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

It has been a stressful year— Our politics are as nasty as ever, North Korea is shooting missiles, chunks of Antarctica are collapsing—  And I think: Enough already!  Summer's here!  I need a break, to replace churning cortisol with calming serotonin—   To take a breath, relax, find peace—  so, we go on vacation, to a lovely hotel out of town.

As soon as we check in, I dump my bags in our room and venture down to the pool.  The water is clear, blue, still—   In one corner, a young woman in ear buds and a bikini sunbathes—

Diagonally across, a white-haired man in a sunhat reads a spy novel.

Selecting a lounge chair at a maximum distance from both, to maximize everyone's personal space?  I settle in with my towel, Teavana and book.  Very soothing, it's Ruth Reichl.  MY KITCHEN YEAR.  In it, the beloved food writer cooks her way through fresh produce, turning leaves, and gentle snowfall, in upstate New York.  "When you pay attention," she says, "cooking becomes a kind of meditation."

Suddenly, the pool gate squeaks.  There are high-pitched voices.  Children.  I look up.  Like a too-gaudy Olympic opening ceremony from some woefully underfunded country, a surreal parade of gigantic inflatable pool toys marches toward us.  There's a green T-Rex, a purple unicorn with fluttering eyelashes, a tropical yellow palm tree and an eight foot-long hot dog.  There's no rhyme or reason here.  If a giant gall bladder emerged topped by a maraschino cherry it would be no surprise.

No matter—  Regardless of how different?  All these dirigibles appear to be here for one reason: extremely loud and frantic water racing.  "One, two, three, go!" a sunburnt youth bellows.  Piercing shrieks as four tidal waves hit.  Turning a damp page, an irritated Spy Novel grandpa seems determined to stay his course—  Bikini Girl seems more protected by her ear buds and dry location.

Finally, an hour later, the children are exhausted from their time trials.  They float to the pool's shallow end, spent.  They fling their colorful vessels over the side onto the lawn.  The dino, unicorn, tropical palm slowly deflate in their pool toy graveyard.  A shaky silence falls.  And then:

"Marco."  "Polo!"  "Marco."  "Polo!"  "MARCO!"  "POLO!"

Grandpa surrenders and rises.  What can he say?  There are too many of them, not enough of us.   Bikini girl holds her ground, until she gets hit on the butt with a ball—  Because there's something magical about using a pool as a lacrosse court.

Soon after, I retreat as well. I go back to my room to relax with a glass of wine…and the dulcet sounds of CNN!

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

 I would like to apologize to our neighbors, block, zip code—  Really, to everyone, in Los Angeles?  For our front lawn.  True, the word "lawn" is stretching it.  It is more an ugly brown snarl.  I want to throw a sheet over it, like a corpse!  Or at least put up a sign that says, "We know, we know.  And we're sorry!"

When I bought the house many years ago, the grass was green.  Our gardener Vic was a genius at setting sprinkler timers—  I have a physics degree, and couldn't figure it out—  The lawns looked great and then we got our first—?  Well, it was less a water "bill" than a water citation.  A water tirade.  A water hazing.  Our utility company began mailing us hurtful bar graphs, showing what hogs we were compared to our water-conservant neighbors.

So in deference to Jerry Brown's drought emergency, we decided to let the lawn turn the color of the governor's name.  It was a badge of eco-honor.  But then, another problem. Every Saturday morning at 8 gardener Vic showed up with a high-pitched, shrieking machine that he would use to blow dead leaves around our dead yard for an hour.  The ear-splitting sound was no doubt meant to show us that he was busy quote unquote "gardening."

It took another two years for me to let him go—  The irony was that I would have kept paying him to stop leaf-blowing—  But he refused—  Then we go out of town for two months and it rains.  A lot.  We return to "grass" that is almost waist high.  I use the word "grass" but in fact this greenery looks sub-tropical.  There are giant tear-drop-shaped leaves and thick leathery stems and twisting vines.I struggle with the weed-whacker to take off the top foot of it— I'm startled by a swarm of exotic butterflies and insects. I hear a shuh-duh-duh-duh-duh.  I'm actually a little spooked.  What will I find in there next?  A pterodactyl?  A cow?  A baby?

The rains go away—  And the area turns Jerry Brown again—  But now, since I gave the jungle a very messy, tortured haircut, instead of just a sedate dead lawn it looks like crazy people live here.  We consider installing a drought resistant garden, but we get quotes of $10,000!  Maybe we should scatter dozens of pots of little cacti around the yard. Or maybe we should just park our cars there.  

Yes, that's the ticket.  My car is a Prius.  It's eco-fashionable.

Next week: The window treatments of your dreams.

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

My 16 year old was complaining about too much light in her bedroom—   Her curtains are too gauzy—  It makes it hard for her to sleep in 'til noon, which she considers her right in summer— 

Because I know nothing, I foolishly said, "Let's get you some blinds!"

Swirling a fresh cup of coffee, a divorced mom taking care of business, I contact my virtual "husband"—  Angie—  Who has a list.

I type in "blinds"—  Do I mean "custom blinds"?  Sure!  Here's a 10% off coupon—  I'm printing money!  For a highly-rated custom blinds guy named Roger—  Within two hours he's at my house for a free estimate!  Hashtag Winning!

Roger is charming, friendly, conversational.  He oohs and aahs over our old Craftsman house, with its large, beautiful, slightly "unusually-sized" windows.  Thatshould have been the tipoff that another custom-zero was being custom-added to the price, but I thought nothing of it.  Oh no!  I offered Roger a cup of coffee—  He asked what I did for a living—I said I was a writer—  He asked what kind—

Now I know that this is called "bonding" and you should not do it when getting a quote unquote free estimate—  I realize I should have said, "I am unemployed," and burst into tears rather than trying to make my career sound so lucrative.  Roger then spends what seems like half an hour—he's thorough!—measuring two windows—  Then he goes to his truck and returns with a thick, beautifully bound binder.  Full of blinds.

Not just blinds.  And I quote: "Window treatments of your dreams"—  And I thought, "Who dreams of window treatments?"  Someone, because there were honeycomb ones, blackout ones, vertical ones—  With different kinds of pulleys, cords, and stylish valences—  In complicated colors like Banana Ice Milk and Taos Midnight Persimmon—  I start fearing that aromas will be next!
           

Bottom line?  For two bedroom windows, it will take three weeks for the custom shades to arrive.  Cost?  $1500.  "They will look amazing!" Roger enthuses.  Inwardly, I agree.  They will be the most amazing thing in my teen's messy bedroom piled with laundry, makeup, art supplies and crumpled tissues.  We just want something to block the light.  After Roger leaves—  And the air is thick with mutual disappointment—  I eye a poster board from my younger daughter's science fair project.  I contemplate simply nailing blankets over the windows.

In the end, I give my teen a nice new sleep mask.  Great solution!  Although that night I do indeed dream. . . of window treatments!

Next week: House Painting Hell!

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

 If only home reno was as simple as on "Fixer Upper"—  The popular TV show featuring Chip and Joanna Gaines.  These toothsome Texans show an anxious couple three falling down houses—

 The couple picks one—  Chip and Joanna sledgehammer it, tear off the "ship lap"— Repaint it cobalt, festoon it with design elements from Joanna's handy online store— Stainless steel fixtures, antique farm lamps, throw pillows thatsay "Gather"—  Two months later, the Gainses pull apart life-sized photo panels of the old house to reveal the new, and the couple weeps with joy!

"You have to live in Texas to be on the show," says my friend Jan. "If it were LA, you'd spend a year just waiting for permits."

"I like how easy they make it," I say.  "The couple just says what they're like—She says: 'I'm a homebody.  He's outdoorsy.'  They go away.  Two months later they magically return to a landscaped backyard terrace that 'brings the outdoors in'—"

"With a throw pillow that says 'Nature,'" adds friend Mary. 

"Exactly!" exclaims Jan.  "In Eagle Rock we just wanted a drought-resistant yard!  This master gardener—  That's right, master gardener—  Her estimate included 10 hours of design at $150 an hour and we had to participate!  There was a lengthy questionnaire about our 'aesthetic goals' and 'plant preferences'—  And I'm going, 'I already went to college!  Just plant something—'"

"With a throw pillow that says 'Water,''" says Mary.

"Contractors!" I say.  "I was trying to get just the outside of our house repainted.  The same color.

From Angie's List, I got three estimates.  The first—$20,000!  Done in two weeks.  Seemed like a lot.  Second—$11,000!  One guy.  An artisan.  He estimated it would take him two months."

"Until he falls off the ladder and breaks his hip—then years could go by," says Jan.

"Third estimate?  $3500.  Done in three days."

"How is that possible?" Mary asks.  "Is the paint radioactive?"

"Oh no," I say.  "The crew shows up on time, 9 a.m. on Tuesday, they're professional, they're neat, they're focused.  They measure, cover, tape—"

"And the second day they don't show up," says Jan.

"Oh no, the second day more painters show up.  There are 12 of them, working 10 hours a day.

And then, in slow motion horror, I'm taking out a calculator, trying to figure out how much they're getting paid.  The house looks great but I feel terrible. So I brought them cookies."

"Add a throw pillow from Joanna's store that says 'Guilt,'" says Mary.

"Oh no," I say. Too expensive."

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

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

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

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

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

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

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

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

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

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

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

Here's Potts again:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Death Note: The Complete Series

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

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

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

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

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

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

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

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

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

Liz singing "Send in the Flat Clowns"

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

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

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

WATCH: The "Into the Woods" trailer

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

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

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

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

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

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

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

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

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

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

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

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

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

Sing-a-long with Brad Pitt

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

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

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

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

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

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

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

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

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

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

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

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

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

Is there a happier star in Hollywood than Patrick Stewart?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WATCH the "Cowboys" trailer in the original Croatian

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It touched me, because it feels kind of wise.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

; Credit: John Rabe

Dear Off-Ramp fans,

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

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

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

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

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

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

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

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.

The L.A. Philharmonic will be the new operator of the John Anson Ford Theatre, the smaller outdoor venue near  the 101 Freeway across from the Hollywood Bowl, under a plan approved by the Los Angeles County Board of Supervisors.  

L.A.  funding sustains the Ford, and the county recently spent $80 million renovating the 1,200  seat amphitheater.  But attendance has been lackluster — and Supervisor Sheila Kuehl hopes the L.A. Philharmonic can change that. 

“The Ford will be able to take advantage of the natural synergies in marketing, capacity-building and program resources that simply haven’t been available to the Ford as an independent institution," she  said.

The move by the L.A. County  blindsided many local artists.  They say the Ford is an important incubator for diverse talent.  They also worry ticket prices will increase.  Prompted by their criticism, the Supervisors will require the Phil to meet with artists and annually review the diversity of the Ford’s shows with county officials.

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.

Two tents in Hollywood erected beneath the 101 Freeway during a January rainstorm. (Matt Tinoco/KPCC)

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

In L.A., community leaders are working to prevent an undercount of Asian Angelenos. ; Credit: via NPR

The 2020 Census kicks off in a matter of weeks. Census officials say Asian immigrants are “hard-to-count” because many have limited English and distrust government. 

Leo Moon is learning about the census with friends at a city-led workshop in Koreatown. He didn’t fill out the form in 2010, mostly because he didn’t want the government knowing he’s undocumented. But Moon says he’ll take part next year because the census determines how much funding and representation people get.  

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

Screengrab from video on XY Lee's YouTube channel.; Credit: via YouTube

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

Mike Okamoto poses as Shogun Santa with visitors to Japanese Village. ; Credit: Chava Sanchez/KPCC

LA’s Asian Santa tradition is back. Shogun Santa has returned to Little Tokyo after a big loss in the community last year.  

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.

A moment in Larry Mantle’s recent conversation with Steve Inskeep has stuck with me.

The NPR Morning Edition co-host was in our Pasadena studios to talk about his latest book, Imperfect Union. Asked how he approaches his day job, Inskeep told a story about the time he dispassionately called a heartbreaking loss for his high school football team. That “straight call” earned praise from a veteran broadcaster he admired. It’s a lesson, he said, that stayed with him.

“I may have a personal opinion; it doesn’t matter,” Inskeep told Mantle. “My job as a journalist is to get the facts right, that are in front of me, and you can do that even if you have a personal opinion.”

Mantle, who has hosted KPCC’s AirTalk for decades, responded: 

“You can’t do this work if you’re wired like an activist. I sort of see my wiring as more how a teacher would be, wired where you’re amassing information. You’re leading people through a story, and the joy is in people coming to their own conclusions.”

“If you’re an activist at all, you’re an activist for the truth,” Inskeep replied. 

Activists for truth. Finding joy in people reaching their own conclusions.

What a compelling description of what our newsroom strives to deliver every day to Southern Californians.

These were my thoughts even before my colleague at NPR came under attack for doing her job.

If you haven't been following the story, Secretary of State Mike Pompeo angrily objected to being questioned about Ukraine during an interview with All Things Considered co-host Mary Louise Kelly. Pompeo didn't care for Kelly's questions on air and the conversation grew even more contentious behind closed doors.

The next day he accused Kelly of lying about the topic of the interview and then reporting a conversation he claimed was off the record. [Including his odd demand she locate Ukraine on unmarked world map.]  Kelly has denied both claims and media outlets have reported on emails between her and Pompeo's staff that back up her assertion she told them the interview would go beyond questions about Iran.

Then, this week, the State Department denied credentials to NPR's Michele Kelemen, who'd been scheduled to cover Pompeo's trip to Europe.

NPR President and CEO John Lansing and Nancy Barnes, who heads news, are rightfully demanding answers.

Why does it matter? Because as Lansing notes having access to people in power is fundamental to "the role of journalism in America.

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I want to take a few minutes to tell you more about how our newsroom works and why you’ll be hearing more from us about our mission and ambition.

Listeners may have noticed a new phrase on our air: “Democracy needs to be heard.” It’s a statement you’ll also start seeing on billboards and bus benches around Los Angeles.

It’s part of the first marketing campaign for our station in many years. The goal is to make more people aware of what we do and why we do it. We also want to grow our audience and our supporters, so we can do even more original journalism.

Southern California Public Radio — home to 89.3 KPCC, LAist Studios, and LAist.com — turns 20 this year. SCPR was born out of a belief that the region would embrace and support a news-focused NPR station serving Southern California with original programming and reporting.

In the two decades since, our members stepped up and helped us build what is now one of the biggest newsrooms in the region. We’ve gone from cramped quarters in the library of Pasadena City College, to a new headquarters in 2010, to today, when we have to scramble for desks for our growing operation.

If you’ve ever heard me on-air during a pledge drive, you’ve heard me talk about how remarkable it is that your support has fueled our ambition and growth. We’re the most listened to NPR station in Southern California. The public media model depends on people donating their hard-earned money because they believe in what we are doing. You don’t have to pay a dime to listen to us on your radio, or stream us on your smart speaker or our app. You’ll never hit a paywall when you visit our website.

Our relationship with you isn’t transactional — that’s one of the ways nonprofit member-supported newsrooms are different. Instead, we make a case that what we do matters, that it’s valuable to you — so valuable that you voluntarily support us (even though you can still listen and read if you don’t). 

That’s a powerful relationship.

It’s why we take community engagement so seriously. That means listening closely to your concerns, answering your questions, meeting you in person, thinking about how our coverage can be both for and about Southern Californians.

In September, we were awarded the first-ever Gather Award for engaged journalism from the Online News Association. In December, we won our second-in-a-row Champion of Curiosity Award for our breaking news coverage of the wildfires.

Our approach to engaged journalism has been transformational for coverage, and we’ve emerged as a clear leader in the industry — sharing what we’ve learned with other newsrooms.

***

We talk a lot about our public-service mission in this newsroom. It permeates how we approach stories. It’s why our reporters, producers, hosts and editors choose to work here. 

And we’ve made this promise to you:

“You deserve great local news — and we need your help to find those stories. We listen to what you’re curious about, what keeps you up at night, and who you want held accountable. We’re inviting you to be part of the conversation.”

We do this work because of you. We do it for you and with you. 

We’ve spent quite a bit of time thinking about how we’re finding and telling stories, and how we can do an even better job of delivering reporting that you won’t find anywhere else. We want our reporters to spend their energy on original stories (and not get stuck echoing information that everyone else is reporting). 

To that end, each reporter has their own individual mission statement to reflect their goals in covering communities and crucial issues. 

The free press is a cornerstone of democracy. That’s why in 1786 Thomas Jefferson wrote:

"Our liberty depends on the freedom of the press, and that cannot be limited without being lost." 

More than 200 years later, Nelson Mandela said: “A critical, independent and investigative press is the lifeblood of any democracy.”

Activists for truth. That means scrutinizing the information we receive from our sources or uncover through our reporting. It means giving you the context you need to consider what is fact and what is spin.

It’s truly an exciting time to work in our newsroom.

We have ambitious plans for coverage of the upcoming California primary and presidential election.

We have so much great work in progress — including three in-depth investigations scheduled to publish in the coming weeks.

Those stories took months to report, involving thousands of public documents, hundreds of miles of travel, and data analysis that no one else has done.

And it was only possible because of your support.  

Thank you.

Megan Garvey, Executive Editor

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