Director
PROFILE
C. Fitz
Guest
FROM C. Fitz
Press Play with Madeleine Brand
The rise and fall of Jewel’s Catch-One, LA’s first black gay disco In this day and age, where gay marriage is legal, gays and lesbians can serve openly in the US Armed Forces, and gay, lesbian, and transgender characters can be seen all over film and television, it’s easy to forget the battles that were fought to bring about that change. One of the front lines in Los Angeles was Jewel’s Catch-One, a nightclub near the corner of Pico and Crenshaw in South LA. For more than 40 years, it was a haven for gays and lesbians, especially African Americans. A new documentary about Jewel’s Catch-One and its proprietor, Jewel Thais-Williams, is being screened at Outfest this year. Press Play speaks with Jewel and the film’s director, C. Fitz.
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Design and Architecture
Farewell LA freeways, Peter Shire is back Angelenos don't want more freeways but we seem not to want mass transit either. Metro has killed the 710 freeway extension, and bus and train ridership is down across the region. What's the future of getting around in LA? And, Peter Shire is having a comeback. What attracts a new generation to his playful ceramics and furniture?
Press Play with Madeleine Brand
Previewing James Comey's blockbuster testimony Former FBI director James Comey testifies Thursday in front of the Senate Intelligence Committee, but his opening statement has been released. In it, he says he felt pressured by Donald Trump to declare loyalty to him and publicly clear him of any wrongdoing in the Russia investigation.
Press Play with Madeleine Brand
How do Trump supporters feel about the Paris Accord? Globally and around the U.S., there are strong opinions whether or not the Paris Climate Accord is a good idea. The American exit is either a horrifying abdication of American leadership or a forceful and long overdue statement about U.S. sovereignty.
Bookworm
George Saunders: Lincoln in the Bardo (Part I) Lincoln in the Bardo dramatizes a grieving President Lincoln as he visits the grave of his beloved son Willie, who died at age eleven. In the novel, the buried dead believe they're not dead -- "they're sick and refer to their coffins as "sick boxes."