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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF Indiefest\u003c/h2>\n\u003cdiv class=\"event-desc\">Film fest featuring ‘The Cult of JT Leroy.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 5-19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you wanted to write a cautionary tale about the present age’s toxic sanctification of victimhood and celebrity, the rise and fall of JT LeRoy would seem too outlandish and audacious to be true. But it was. \u003c/p>\n\u003cp>San Francisco filmmaker Marjorie Sturm started filming LeRoy in 2002, when he was the darling of the Bay Area literary scene. That was before the story of a drug-addicted, HIV-positive transgender teen prostitute who was encouraged to start writing by his therapist, San Francisco psychologist Dr. Terrence Owens, was revealed as a master con perpetrated by Laura Albert, erstwhile vocalist in the bands Daddy Don’t Go and Thistle. \u003c/p>\n\u003cp>In 2005, it became clear that LeRoy’s ascent as a celebrity—fueled by a parade of famous writers, musicians and actors like Lou Reed, Sandra Bernhard, and Nancy Sinatra (who stepped in to do public readings because LeRoy was supposedly too shy)—was an outlandish deception, and a hoax that left feelings of betrayal among some of the street kids who had idolized LeRoy as a triumphant survivor. \u003c/p>\n\u003cp>What’s harrowing about Sturm’s enthralling new documentary \u003cem>The Cult of JT LeRoy\u003c/em> isn’t the abuse detailed in LeRoy’s bestselling tales of woe, \u003cem>Sarah\u003c/em> and \u003cem>The Heart is Deceitful Above All Things\u003c/em>. Rather it’s the ordeal that Albert inflicted on writers like Joel Rose, Dennis Cooper, and Bruce Benderson, who describes Albert’s “sadistic manipulations,” while she pursued notoriety for her creation. SF IndieFest presents the Bay Area debut of \u003cem>The Cult of JT LeRoy\u003c/em> at the Roxie Theater, screening from Feb. 7-15. The film returns for a regular run at the Roxie March 13-18. \u003c/p>\n\u003cp>Though Sturm doesn’t make a point of it, the documentary amounts to a scathing indictment of the credulousness of the press. In a film bathed in surreality—Albert hired her boyfriend’s half-sister to appear publicly as LeRoy, her face often half obscured by a wig, oversized hat and sunglasses—one of the most biting scenes unfolds in Napa, where Sturm follows LeRoy to a celebrity-strewn photo shoot staged by the \u003cem>New York Times Magazine\u003c/em>. It wasn’t until writer Stephen Beachy published an \u003ca href=\"http://nymag.com/nymetro/news/people/features/14718/\" target=\"_blank\" rel=\"noopener\">article in \u003cem>New York\u003c/em> magazine\u003c/a> in October of 2005 that Albert’s dauntingly complex decade-long hoax was unmasked, which led to a fraud lawsuit from the film company that optioned \u003cem>Sarah\u003c/em>. Part detective story and part postmodern inquiry into the nature of authorship, the film is most interested in the ways that a cold-blooded con artist can prey upon the empathy and good intentions of the unwitting. I spoke with Sturm on the phone from her home in San Francisco. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>You came to the JT LeRoy story in 2002, when you started to make a documentary about him. At that point, had you read the novels and what did you make of them?\u003c/strong>\u003c/p>\n\u003cp>I hadn’t read them. A friend had just moved to Los Angeles and he called me saying the photographer Kate Garner is looking for a documentary filmmaker, and do you want to start working on a project about this poet who lives in the Tenderloin? I jumped on the plane the next day and read \u003cem>The Heart is Deceitful Above All Things\u003c/em>. At that point, John Waters, Tom Waits and Dennis Cooper were completely excited about JT. I jumped in. It was fun, and I had a good time hanging out with him. I felt a kinship. They seemed very San Francisco-in-Los Angeles. That was my superficial take. At that point I worked on the film for 10 months, doing five or six shoots. \u003c/p>\n\u003cp>\u003cstrong>When you started filming, JT was being played by Savannah Knoop, and Laura Albert and her partner Geoffrey Knoop were posing as JT’s confidants and housemates Speedie and Astor. Did you have any inkling about what was going on?\u003c/strong>\u003c/p>\n\u003cp>It all seemed strange, and they acted strange. In hindsight, people said Savannah had no Adam’s apple, but I absolutely thought there was a JT who wrote those books. From that first shoot in L.A. to the shoot in Napa, the question for me was that I didn’t know if I liked where he was going. JT seemed to be turning into this diva asshole. \u003c/p>\n\u003cp>\u003cstrong>As the story came out that LeRoy didn’t exist, what was your reaction?\u003c/strong>\u003c/p>\n\u003cp>Just the audacity to do it, that’s why it’s so astounding. Laura was the only one making the phone calls and emails. Savannah was hired for those occasions. At first I thought that JT definitely existed and Laura ghostwrote the books. Stephen Beachy basically had to deprogram me. I was blown away by his analysis of the situation from the get-go. He’s really brilliant. I just generally try to see the good in people, and this topic has been really challenging.\u003c/p>\n\u003cp>\u003cstrong>The footage from Dr. Terrence Owens’s deposition is the most conspicuous thread running through the film. Can you talk a little bit about what he was being deposed for, and his relationship with JT and Laura?\u003c/strong>\u003c/p>\n\u003cp>That was a deposition from the film company’s fraud lawsuit. Dr. Owens always did phone therapy with JT. He was duped like every other person, and just as shocked. But after that he continues to treat her as Laura. And Laura thinks that her therapeutic needs are so great it justifies everything.\u003c/p>\n\u003cp>\u003cstrong>You don’t get into your relationship with Laura Albert, or your attempts to interview her.\u003c/strong>\u003c/p>\n\u003cp>I decided not to make it about us, because that would be a limitation. It’s a much bigger story. About six months after Stephen Beachy’s story came out, she called me back after my attempt to interview her, and it started friendly enough. “How are you doing? How is your baby?” Then she started screaming and raging at me in this intense way, threatening to sue me if I made the film. “You’re an opportunist,” she said. “You’re going to kiss your kid’s college education goodbye.” I said, “Laura, you’re acting like you and me had this open and honest relationship.” And she said, “Oh, so you’re going to play that card.” This is what she does, and it works. Most people aren’t used to being on the receiving end of so much vitriol. I’ve worked with gang members and felons and the mentally ill, and I’ve never crossed paths with something like this. \u003c/p>\n\u003cp>\u003cstrong>You end the film with a title card saying that Laura Albert hasn’t published any books under her own name, but she’s had a fairly visible post-JT career, working in fashion, serving on the jury for film festivals. What do you make of that?\u003c/strong>\u003c/p>\n\u003cp>I think it really shows the power of a con artist, a cult leader, to twist and warp reality through charisma and lies. I think the story is confusing enough that I give some people the benefit of the doubt that they don’t fully understand the facts about it all. And some people prefer a good story to the facts. I don’t doubt that the people who Laura is ensnaring now are empathetic sorts who think she is a victim somehow. That is who con artists go after. I think we want to believe that we live in some sort of civilization, and it’s quite disconcerting that our world is as predatory as it is. We don’t expect this from artists. We expect this from Wall Street and wars. The other element is the curiosity factor. Laura has branded herself a celebrity by association with JT, who managed to get close to celebrities. Sadly enough, for some that is extremely exciting. \u003c/p>\n\u003cp>\u003cstrong>Often, discussions about the hoax center on Laura Albert’s right to use a pseudonym, but I think your film establishes that’s the least interesting question about this case.\u003c/strong>\u003c/p>\n\u003cp>The pseudonym thing is a weird red herring that she used in the fraud trial. The work was always presented as autobiographical fiction. The first thing Laura Albert wrote as JT was a memoir published under the name “Terminator” in Laurie Stone’s \u003cem>Close to the Bone\u003c/em> anthology. The problem is that everyone interviews her and she just lies and lies. They go to her as a source for the story. The meta story is the relentless spinning and how the media gets it so wrong again and again. Like she keeps saying she never said JT was HIV positive, and she did numerous times. \u003c/p>\n\u003cp>\u003cstrong>Toward the end of the film, several people address whether or not JT LeRoy’s work can stand on its own. What do you think?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a circular question. It’s so subjective. Do people get value? Is she an outsider artist, writing her experience? I don’t care about the writing. I think it’s obvious the writing was fueled by the marketing. This work will always be caught up in the deception and the scandal. If people enjoy it, great.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF Indiefest\u003c/h2>\n\u003cdiv class=\"event-desc\">Film fest featuring ‘The Cult of JT Leroy.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 5-19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you wanted to write a cautionary tale about the present age’s toxic sanctification of victimhood and celebrity, the rise and fall of JT LeRoy would seem too outlandish and audacious to be true. But it was. \u003c/p>\n\u003cp>San Francisco filmmaker Marjorie Sturm started filming LeRoy in 2002, when he was the darling of the Bay Area literary scene. That was before the story of a drug-addicted, HIV-positive transgender teen prostitute who was encouraged to start writing by his therapist, San Francisco psychologist Dr. Terrence Owens, was revealed as a master con perpetrated by Laura Albert, erstwhile vocalist in the bands Daddy Don’t Go and Thistle. \u003c/p>\n\u003cp>In 2005, it became clear that LeRoy’s ascent as a celebrity—fueled by a parade of famous writers, musicians and actors like Lou Reed, Sandra Bernhard, and Nancy Sinatra (who stepped in to do public readings because LeRoy was supposedly too shy)—was an outlandish deception, and a hoax that left feelings of betrayal among some of the street kids who had idolized LeRoy as a triumphant survivor. \u003c/p>\n\u003cp>What’s harrowing about Sturm’s enthralling new documentary \u003cem>The Cult of JT LeRoy\u003c/em> isn’t the abuse detailed in LeRoy’s bestselling tales of woe, \u003cem>Sarah\u003c/em> and \u003cem>The Heart is Deceitful Above All Things\u003c/em>. Rather it’s the ordeal that Albert inflicted on writers like Joel Rose, Dennis Cooper, and Bruce Benderson, who describes Albert’s “sadistic manipulations,” while she pursued notoriety for her creation. SF IndieFest presents the Bay Area debut of \u003cem>The Cult of JT LeRoy\u003c/em> at the Roxie Theater, screening from Feb. 7-15. The film returns for a regular run at the Roxie March 13-18. \u003c/p>\n\u003cp>Though Sturm doesn’t make a point of it, the documentary amounts to a scathing indictment of the credulousness of the press. In a film bathed in surreality—Albert hired her boyfriend’s half-sister to appear publicly as LeRoy, her face often half obscured by a wig, oversized hat and sunglasses—one of the most biting scenes unfolds in Napa, where Sturm follows LeRoy to a celebrity-strewn photo shoot staged by the \u003cem>New York Times Magazine\u003c/em>. It wasn’t until writer Stephen Beachy published an \u003ca href=\"http://nymag.com/nymetro/news/people/features/14718/\" target=\"_blank\" rel=\"noopener\">article in \u003cem>New York\u003c/em> magazine\u003c/a> in October of 2005 that Albert’s dauntingly complex decade-long hoax was unmasked, which led to a fraud lawsuit from the film company that optioned \u003cem>Sarah\u003c/em>. Part detective story and part postmodern inquiry into the nature of authorship, the film is most interested in the ways that a cold-blooded con artist can prey upon the empathy and good intentions of the unwitting. I spoke with Sturm on the phone from her home in San Francisco. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>You came to the JT LeRoy story in 2002, when you started to make a documentary about him. At that point, had you read the novels and what did you make of them?\u003c/strong>\u003c/p>\n\u003cp>I hadn’t read them. A friend had just moved to Los Angeles and he called me saying the photographer Kate Garner is looking for a documentary filmmaker, and do you want to start working on a project about this poet who lives in the Tenderloin? I jumped on the plane the next day and read \u003cem>The Heart is Deceitful Above All Things\u003c/em>. At that point, John Waters, Tom Waits and Dennis Cooper were completely excited about JT. I jumped in. It was fun, and I had a good time hanging out with him. I felt a kinship. They seemed very San Francisco-in-Los Angeles. That was my superficial take. At that point I worked on the film for 10 months, doing five or six shoots. \u003c/p>\n\u003cp>\u003cstrong>When you started filming, JT was being played by Savannah Knoop, and Laura Albert and her partner Geoffrey Knoop were posing as JT’s confidants and housemates Speedie and Astor. Did you have any inkling about what was going on?\u003c/strong>\u003c/p>\n\u003cp>It all seemed strange, and they acted strange. In hindsight, people said Savannah had no Adam’s apple, but I absolutely thought there was a JT who wrote those books. From that first shoot in L.A. to the shoot in Napa, the question for me was that I didn’t know if I liked where he was going. JT seemed to be turning into this diva asshole. \u003c/p>\n\u003cp>\u003cstrong>As the story came out that LeRoy didn’t exist, what was your reaction?\u003c/strong>\u003c/p>\n\u003cp>Just the audacity to do it, that’s why it’s so astounding. Laura was the only one making the phone calls and emails. Savannah was hired for those occasions. At first I thought that JT definitely existed and Laura ghostwrote the books. Stephen Beachy basically had to deprogram me. I was blown away by his analysis of the situation from the get-go. He’s really brilliant. I just generally try to see the good in people, and this topic has been really challenging.\u003c/p>\n\u003cp>\u003cstrong>The footage from Dr. Terrence Owens’s deposition is the most conspicuous thread running through the film. Can you talk a little bit about what he was being deposed for, and his relationship with JT and Laura?\u003c/strong>\u003c/p>\n\u003cp>That was a deposition from the film company’s fraud lawsuit. Dr. Owens always did phone therapy with JT. He was duped like every other person, and just as shocked. But after that he continues to treat her as Laura. And Laura thinks that her therapeutic needs are so great it justifies everything.\u003c/p>\n\u003cp>\u003cstrong>You don’t get into your relationship with Laura Albert, or your attempts to interview her.\u003c/strong>\u003c/p>\n\u003cp>I decided not to make it about us, because that would be a limitation. It’s a much bigger story. About six months after Stephen Beachy’s story came out, she called me back after my attempt to interview her, and it started friendly enough. “How are you doing? How is your baby?” Then she started screaming and raging at me in this intense way, threatening to sue me if I made the film. “You’re an opportunist,” she said. “You’re going to kiss your kid’s college education goodbye.” I said, “Laura, you’re acting like you and me had this open and honest relationship.” And she said, “Oh, so you’re going to play that card.” This is what she does, and it works. Most people aren’t used to being on the receiving end of so much vitriol. I’ve worked with gang members and felons and the mentally ill, and I’ve never crossed paths with something like this. \u003c/p>\n\u003cp>\u003cstrong>You end the film with a title card saying that Laura Albert hasn’t published any books under her own name, but she’s had a fairly visible post-JT career, working in fashion, serving on the jury for film festivals. What do you make of that?\u003c/strong>\u003c/p>\n\u003cp>I think it really shows the power of a con artist, a cult leader, to twist and warp reality through charisma and lies. I think the story is confusing enough that I give some people the benefit of the doubt that they don’t fully understand the facts about it all. And some people prefer a good story to the facts. I don’t doubt that the people who Laura is ensnaring now are empathetic sorts who think she is a victim somehow. That is who con artists go after. I think we want to believe that we live in some sort of civilization, and it’s quite disconcerting that our world is as predatory as it is. We don’t expect this from artists. We expect this from Wall Street and wars. The other element is the curiosity factor. Laura has branded herself a celebrity by association with JT, who managed to get close to celebrities. Sadly enough, for some that is extremely exciting. \u003c/p>\n\u003cp>\u003cstrong>Often, discussions about the hoax center on Laura Albert’s right to use a pseudonym, but I think your film establishes that’s the least interesting question about this case.\u003c/strong>\u003c/p>\n\u003cp>The pseudonym thing is a weird red herring that she used in the fraud trial. The work was always presented as autobiographical fiction. The first thing Laura Albert wrote as JT was a memoir published under the name “Terminator” in Laurie Stone’s \u003cem>Close to the Bone\u003c/em> anthology. The problem is that everyone interviews her and she just lies and lies. They go to her as a source for the story. The meta story is the relentless spinning and how the media gets it so wrong again and again. Like she keeps saying she never said JT was HIV positive, and she did numerous times. \u003c/p>\n\u003cp>\u003cstrong>Toward the end of the film, several people address whether or not JT LeRoy’s work can stand on its own. What do you think?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a circular question. It’s so subjective. Do people get value? Is she an outsider artist, writing her experience? I don’t care about the writing. I think it’s obvious the writing was fueled by the marketing. This work will always be caught up in the deception and the scandal. If people enjoy it, great.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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