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"content": "\u003cp>In the two years documentary filmmakers shadowed former Congresswoman Gabby Giffords, the most jarring moment for them was in the kitchen of her Tucson, Arizona, home.\u003c/p>\n\u003cp>As cameras were rolling, she and her husband, Sen. Mark Kelly, nonchalantly opened the freezer. Kelly grabbed a plastic container and revealed it holds the piece of Giffords’ skull that had to be removed after she was shot.\u003c/p>\n\u003cp>“This stays in here next to the empanadas and the sliced mango,” Kelly said.\u003c/p>\n\u003cp>Giffords’ response was “Sera, sera,” referencing the song “Que sera, sera” or “What will be, will be.”\u003c/p>\n\u003cp>The scene from the film is emblematic of Giffords’ openness to reflect on but not languish in the 2011 shooting that changed her life. That desire is what led her to allow cameras into her life for two years—all as a pandemic was progressing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For me it has been really important to move ahead, to not look back,” Giffords told the Associated Press while in Los Angeles to promote the film. “I hope others are inspired to keep moving forward no matter what.”\u003c/p>\n\u003cp>From the filmmakers behind Academy Award-nominated Ruth Bader Ginsburg documentary \u003cem>RBG\u003c/em>, the film \u003cem>Gabby Giffords Won’t Back Down\u003c/em> is partly an intimate look at Giffords’ recovery after the January 2011 shooting that left six people dead and 13 others wounded outside a Tucson supermarket. But the movie, which arrives in theaters July 15, is also an insider view of how she and Kelly navigated gun control campaigns and later a Senate campaign. The movie could not be any timelier with gun reform being debated in government, schools and the U.S. Supreme Court.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9FhlFKwE45Y\u003c/p>\n\u003cp>“It’s just a fascinating story about how Gabby came back from an injury that so many people just don’t even survive,” said Betsy West, a co-director. “After meeting Gabby on Zoom, we saw just what a great communicator she is. And we had a sense that we might have a lot of fun despite the very difficult subject of gun violence.”\u003c/p>\n\u003cp>At the same time, they wanted to strike the right balance of how much to look back at the shooting.\u003c/p>\n\u003cp>“We certainly didn’t want to shy away from Jan. 8. Obviously, that’s something that changed her life,” said Julie Cohen, the film’s other director. “But Gabby is defined ultimately by everything that she’s achieved before and after that. We wanted it to show that achievement.”\u003c/p>\n\u003cp>The film also doesn’t avoid discussing Jared Lee Loughner, the gunman in the Tucson shooting. Interviews with law enforcement, journalists and a video made by Loughner lay out how he was able to buy a semiautomatic weapon despite a history of mental illness. He was sentenced in 2012 to life in federal prison without parole.\u003c/p>\n\u003cp>“We did not want to dwell on the shooter but we also wanted to explain what had happened,” West said. “Gabby and Mark did not shy away from going to the sentencing hearing to make a very impassioned plea for life imprisonment. That was a very important part of the film.”\u003c/p>\n\u003cp>[aside postID='arts_13886669,arts_13914548,pop_105305']Recent mass shootings including the deaths of 19 schoolchildren and two teachers in Uvalde, Texas, and 10 supermarket shoppers—all Black—in Buffalo, New York, have put gun violence back at the forefront. The U.S. Supreme Court on Thursday \u003ca href=\"https://www.npr.org/2022/06/23/1102995474/supreme-court-opinion-guns\" target=\"_blank\" rel=\"noopener noreferrer\">struck down a New York gun permitting law\u003c/a>. The case involves a state law that makes it difficult for people to get a permit to carry a gun outside the home. The justices said that requirement violates the Second Amendment right to “keep and bear arms.”\u003c/p>\n\u003cp>Also on Thursday, the \u003ca href=\"https://www.npr.org/2022/06/23/1107234183/senate-passes-gun-control-bill-and-sends-it-to-the-house\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Senate easily passed a bipartisan gun violence bill\u003c/a>. Weeks of closed-door talks resulted in an incremental but landmark package in response to mass shootings. The House will vote Friday.\u003c/p>\n\u003cp>Much like after Uvalde, the documentary recaps how gun control debates reached a fever pitch after 26 children and two teachers were shot to death by a gunman at a Newtown, Connecticut, school. Giffords and other advocates, including some Newtown parents, were called “props” by National Rifle Association officials. Having spent time with Giffords and others impacted by gun violence, the film’s directors say their voices are central to the discourse.\u003c/p>\n\u003cp>“To say that somehow Gabby shouldn’t be speaking about gun violence because she’s experienced violence? It just doesn’t make any sense,” Cohen said.\u003c/p>\n\u003cp>A crucial element of the documentary came from videos Kelly had of Giffords in the Tucson hospital and at a rehab facility in Houston. These included then-President Barack Obama—who is interviewed in the film—and Michelle Obama’s visit to an unconscious Giffords’ bedside. They also include the first few months of speech therapy.\u003c/p>\n\u003cp>The bullet penetrated the left hemisphere of Giffords’ brain that services language ability, causing her to suffer from aphasia. You see in old videos Giffords sob out of frustration as she struggles to read and get stuck on saying “chicken.”\u003c/p>\n\u003cp>Giffords said watching those videos can make her sad, but she is determined to be upbeat.\u003c/p>\n\u003cp>“I’m getting better. I’m getting (better) slowly but I’m getting (better) surely,” Giffords said.\u003c/p>\n\u003cp>\u003cem>Giffords\u003c/em> is the third movie West and Cohen have produced on a female icon. Last year, they released \u003cem>Julia\u003c/em>, a documentary on the influence of TV chef and author Julia Child. \u003cem>RBG\u003c/em> was a critical and commercial hit when it came out four years ago. The filmmakers say while Giffords and Supreme Court Justice Ginsburg, who died in 2020 at age 87, are very different personalities, they think viewers will see a lot of similarities. They both have toughness, persistence, optimism and are at the heart of “feminist love stories.”\u003c/p>\n\u003cfigure id=\"attachment_13915223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-24-at-12.40.34-PM-800x403.png\" alt=\"Gabby Giffords stands behind a podium, gesturing theatrically to the audience. She is standing in front of a huge American flag.\" width=\"800\" height=\"403\">\u003cfigcaption class=\"wp-caption-text\">Gabby Giffords on the campaign trail for her husband, Sen. Mark Kelly. \u003ccite>('Gabby Giffords Won't Back Down')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giffords often has to remind people that she still has a voice even if speaking doesn’t come easily—whether it’s on gun safety or other issues. She said she genuinely feels the climate is different now but people have to be patient because change is “slow,” and Washington, D.C., is “really slow.”\u003c/p>\n\u003cp>She plans to refocus on making tougher federal background checks a reality through her \u003ca href=\"https://giffords.org/action/gun-owners-for-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Gun Owners for Safety\u003c/a> coalition. The bill the Senate approved would only strengthen background checks for buyers age 18 to 20.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If there’s one message she wants viewers to take from the documentary, it’s “fight, fight, fight every day,” Giffords said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gabby+Giffords+documentary+comes+as+gun+debates+stay+on+center+stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Recent mass shootings including the deaths of 19 schoolchildren and two teachers in Uvalde, Texas, and 10 supermarket shoppers—all Black—in Buffalo, New York, have put gun violence back at the forefront. The U.S. Supreme Court on Thursday \u003ca href=\"https://www.npr.org/2022/06/23/1102995474/supreme-court-opinion-guns\" target=\"_blank\" rel=\"noopener noreferrer\">struck down a New York gun permitting law\u003c/a>. The case involves a state law that makes it difficult for people to get a permit to carry a gun outside the home. The justices said that requirement violates the Second Amendment right to “keep and bear arms.”\u003c/p>\n\u003cp>Also on Thursday, the \u003ca href=\"https://www.npr.org/2022/06/23/1107234183/senate-passes-gun-control-bill-and-sends-it-to-the-house\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Senate easily passed a bipartisan gun violence bill\u003c/a>. Weeks of closed-door talks resulted in an incremental but landmark package in response to mass shootings. The House will vote Friday.\u003c/p>\n\u003cp>Much like after Uvalde, the documentary recaps how gun control debates reached a fever pitch after 26 children and two teachers were shot to death by a gunman at a Newtown, Connecticut, school. Giffords and other advocates, including some Newtown parents, were called “props” by National Rifle Association officials. Having spent time with Giffords and others impacted by gun violence, the film’s directors say their voices are central to the discourse.\u003c/p>\n\u003cp>“To say that somehow Gabby shouldn’t be speaking about gun violence because she’s experienced violence? It just doesn’t make any sense,” Cohen said.\u003c/p>\n\u003cp>A crucial element of the documentary came from videos Kelly had of Giffords in the Tucson hospital and at a rehab facility in Houston. These included then-President Barack Obama—who is interviewed in the film—and Michelle Obama’s visit to an unconscious Giffords’ bedside. They also include the first few months of speech therapy.\u003c/p>\n\u003cp>The bullet penetrated the left hemisphere of Giffords’ brain that services language ability, causing her to suffer from aphasia. You see in old videos Giffords sob out of frustration as she struggles to read and get stuck on saying “chicken.”\u003c/p>\n\u003cp>Giffords said watching those videos can make her sad, but she is determined to be upbeat.\u003c/p>\n\u003cp>“I’m getting better. I’m getting (better) slowly but I’m getting (better) surely,” Giffords said.\u003c/p>\n\u003cp>\u003cem>Giffords\u003c/em> is the third movie West and Cohen have produced on a female icon. Last year, they released \u003cem>Julia\u003c/em>, a documentary on the influence of TV chef and author Julia Child. \u003cem>RBG\u003c/em> was a critical and commercial hit when it came out four years ago. The filmmakers say while Giffords and Supreme Court Justice Ginsburg, who died in 2020 at age 87, are very different personalities, they think viewers will see a lot of similarities. They both have toughness, persistence, optimism and are at the heart of “feminist love stories.”\u003c/p>\n\u003cfigure id=\"attachment_13915223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-24-at-12.40.34-PM-800x403.png\" alt=\"Gabby Giffords stands behind a podium, gesturing theatrically to the audience. She is standing in front of a huge American flag.\" width=\"800\" height=\"403\">\u003cfigcaption class=\"wp-caption-text\">Gabby Giffords on the campaign trail for her husband, Sen. Mark Kelly. \u003ccite>('Gabby Giffords Won't Back Down')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giffords often has to remind people that she still has a voice even if speaking doesn’t come easily—whether it’s on gun safety or other issues. She said she genuinely feels the climate is different now but people have to be patient because change is “slow,” and Washington, D.C., is “really slow.”\u003c/p>\n\u003cp>She plans to refocus on making tougher federal background checks a reality through her \u003ca href=\"https://giffords.org/action/gun-owners-for-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Gun Owners for Safety\u003c/a> coalition. The bill the Senate approved would only strengthen background checks for buyers age 18 to 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If there’s one message she wants viewers to take from the documentary, it’s “fight, fight, fight every day,” Giffords said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gabby+Giffords+documentary+comes+as+gun+debates+stay+on+center+stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How an Underground Network of Women Facilitated Abortions Before Roe v. Wade",
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"content": "\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”[aside postID='arts_13912860']\u003c/p>\n\u003cp>Those who sought abortions in 1960s and ’70s Chicago had every reason to be terrified. They were often completely alone—even sharing information about abortion was illegal in Illinois. If they did access the procedure, chances were it was facilitated by the mafia, or a doctor who expected sexual favors in return. They would be lucky to avoid the Cook County Hospital’s septic abortion ward, which was always full. \u003c/p>\n\u003cp>In many respects, illegal abortions closely resembled legitimate visits to the medical establishment. Women were used to being treated with condescension by male doctors; they were used to never being told what a doctor was doing to their bodies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>[aside postID='arts_13913248']Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those who sought abortions in 1960s and ’70s Chicago had every reason to be terrified. They were often completely alone—even sharing information about abortion was illegal in Illinois. If they did access the procedure, chances were it was facilitated by the mafia, or a doctor who expected sexual favors in return. They would be lucky to avoid the Cook County Hospital’s septic abortion ward, which was always full. \u003c/p>\n\u003cp>In many respects, illegal abortions closely resembled legitimate visits to the medical establishment. Women were used to being treated with condescension by male doctors; they were used to never being told what a doctor was doing to their bodies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Korean Adoption Documentary is a Heartbreaking History Lesson",
"headTitle": "This Korean Adoption Documentary is a Heartbreaking History Lesson | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"https://worldchannel.org/episode/america-reframed-geographies-of-kinship/\" target=\"_blank\" rel=\"noopener noreferrer\">Geographies of Kinship\u003c/a>\u003c/em> is an engrossing film by Berkeley filmmaker Deann Borshay Liem that had me quietly weeping one moment and angrily yelling at the screen the next.\u003c/p>\n\u003cp>The documentary details the complex and often shocking history of how Korea became the largest exporter of babies in the world. \u003cem>Kinship\u003c/em>’s strength lies in how it humanizes the fallout of the adoption practices that found their footing during the Korean War, and became a booming business by the 1980s. The film’s heart is in its profiles of four adoptees born in Korea and raised in the West—two in America, one in Sweden and one in Switzerland. But it’s also bolstered by efficient explainers that detail how Korean culture and politics clashed in a perfect storm that turned orphans into an industry.\u003c/p>\n\u003cp>[aside postid='arts_13912887']As \u003cem>Kinship\u003c/em> so effectively explains, though the Korean children arriving in the West were, for decades, presented as orphans, that often was not the case. It’s true that the first orphans brought to the U.S. were some of the 100,000 Korean children who lost their parents in the war. But after some high-profile adoptions by Americans returning home, demand for Korean babies shot up. Soon, hundreds of children were being sent to America to live with new parents they’d never met before and knew nothing about. Despite the fact that many of them had living family members.\u003c/p>\n\u003cp>In \u003cem>Kinship\u003c/em>, this is the experience of Jane Jeong Trenka, whose Minnesotan parents were told they were adopting an orphan, only to have her arrive with family photos. Trenka’s birth mother sent regular letters to her American home throughout her life—correspondence Trenka did not get until she actively started checking the mailbox herself. Trenka’s birth mother, and thousands of women like her, had given her daughter up because she was caught in an impossible situation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Kx0UNkyEgU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Until 2008, Korea’s children had to be in the hojuk—a registry that only acknowledged babies with male guardians—in order to acquire citizenship rights or access to an education. Put simply: no father, no future. And the Korean War left behind a lot of fatherless babies. These children were the result of rape, consensual affairs with American servicemen, or sex work. (Sex work that was sanctioned by the Korean government to keep the American forces happy.)\u003c/p>\n\u003cp>[aside postid='arts_13909125']Exacerbating the hojuk problem was the stigma that came with babies who were visibly mixed race. The automatic assumption was that their mother was a prostitute, impregnated by an American G.I. And the prevailing attitude in Korea was: if the father was American, then the baby belonged in America. Needless to say, not all of those who were adopted and sent overseas were guaranteed a happy ending.\u003c/p>\n\u003cp>Estelle Cooke-Sampson was born to a Korean mother and a Black American father. After years spent languishing in an orphanage, she was taken home by an American sergeant to live with him, his wife and his four sons. On arrival, despite her young age, Cooke-Sampson was treated like a domestic servant. That treatment persisted until she was able to extricate herself in her teens. Cooke-Sampson’s interviews about her early life in \u003ci>Kinship\u003c/i> are devastating, as is the footage of her trying in adulthood to find out where she came from. Watching her struggle to figure out her real birth date is quite stunning.\u003c/p>\n\u003cp>Yet more babies were abandoned after the mass industrialization of Korea began in 1961, and the poverty rates went up. Parents who couldn’t afford to send their kids to school sometimes gave them to orphanages where children were guaranteed a basic education.\u003c/p>\n\u003cfigure id=\"attachment_13913613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png\" alt=\"A white woman with blue eyes, wearing a white jacket and blue hat holds an Asian baby close to her, smiling warmly.\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-768x447.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1536x894.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-2048x1191.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1920x1117.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LenaKim Arctaedius as a baby, in the arms of her Swedish adoptive mother, as seen in ‘Geographies of Kinship.’ Arctaedius is the only subject in the documentary who had a truly happy childhood. \u003ccite>('Geographies of Kinship')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, hunger to adopt Korean babies increased across the United States and Europe. Orphanages and adoption agencies began actively seeking out children in impoverished areas, tempting birth parents with promises of better lives for their kids. Yet there were no regulations in place to give those children a safety net. \u003cem>Kinship\u003c/em> is precise about just how many children got caught in the crossfire. In Korea in 1955, 715 children were abandoned to about 300 orphanages. In 1968, there were 600 orphanages housing around 70,000 children. Overseas adoption rates went from under 3,000 in the 1950s to over 66,000 in the 1980s.\u003c/p>\n\u003cp>[aside postid='arts_13913134']\u003cem>Geographies of Kinship\u003c/em> made the film festival rounds back in 2019. It’s being revived now as part of \u003ca href=\"https://worldchannel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">WORLD Channel\u003c/a>’s celebration of AAPI Heritage Month. But it’s a documentary that will be important long into the future.\u003c/p>\n\u003cp>It’s a testament to humanity’s longing for roots and family. It’s an important history lesson related to American intervention overseas. And it also acts as an indictment: this is what happens when single and working-class mothers are not given the support they need to give their kids even basic opportunities. That final point is something well worth discussing, especially as American women face a future where motherhood is no longer a choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Geographies of Kinship’ is streaming now on the WORLD Channel. \u003ca href=\"https://worldchannel.org/episode/america-reframed-geographies-of-kinship/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://worldchannel.org/episode/america-reframed-geographies-of-kinship/\" target=\"_blank\" rel=\"noopener noreferrer\">Geographies of Kinship\u003c/a>\u003c/em> is an engrossing film by Berkeley filmmaker Deann Borshay Liem that had me quietly weeping one moment and angrily yelling at the screen the next.\u003c/p>\n\u003cp>The documentary details the complex and often shocking history of how Korea became the largest exporter of babies in the world. \u003cem>Kinship\u003c/em>’s strength lies in how it humanizes the fallout of the adoption practices that found their footing during the Korean War, and became a booming business by the 1980s. The film’s heart is in its profiles of four adoptees born in Korea and raised in the West—two in America, one in Sweden and one in Switzerland. But it’s also bolstered by efficient explainers that detail how Korean culture and politics clashed in a perfect storm that turned orphans into an industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As \u003cem>Kinship\u003c/em> so effectively explains, though the Korean children arriving in the West were, for decades, presented as orphans, that often was not the case. It’s true that the first orphans brought to the U.S. were some of the 100,000 Korean children who lost their parents in the war. But after some high-profile adoptions by Americans returning home, demand for Korean babies shot up. Soon, hundreds of children were being sent to America to live with new parents they’d never met before and knew nothing about. Despite the fact that many of them had living family members.\u003c/p>\n\u003cp>In \u003cem>Kinship\u003c/em>, this is the experience of Jane Jeong Trenka, whose Minnesotan parents were told they were adopting an orphan, only to have her arrive with family photos. Trenka’s birth mother sent regular letters to her American home throughout her life—correspondence Trenka did not get until she actively started checking the mailbox herself. Trenka’s birth mother, and thousands of women like her, had given her daughter up because she was caught in an impossible situation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3Kx0UNkyEgU'\n title='//www.youtube.com/embed/3Kx0UNkyEgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Until 2008, Korea’s children had to be in the hojuk—a registry that only acknowledged babies with male guardians—in order to acquire citizenship rights or access to an education. Put simply: no father, no future. And the Korean War left behind a lot of fatherless babies. These children were the result of rape, consensual affairs with American servicemen, or sex work. (Sex work that was sanctioned by the Korean government to keep the American forces happy.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Exacerbating the hojuk problem was the stigma that came with babies who were visibly mixed race. The automatic assumption was that their mother was a prostitute, impregnated by an American G.I. And the prevailing attitude in Korea was: if the father was American, then the baby belonged in America. Needless to say, not all of those who were adopted and sent overseas were guaranteed a happy ending.\u003c/p>\n\u003cp>Estelle Cooke-Sampson was born to a Korean mother and a Black American father. After years spent languishing in an orphanage, she was taken home by an American sergeant to live with him, his wife and his four sons. On arrival, despite her young age, Cooke-Sampson was treated like a domestic servant. That treatment persisted until she was able to extricate herself in her teens. Cooke-Sampson’s interviews about her early life in \u003ci>Kinship\u003c/i> are devastating, as is the footage of her trying in adulthood to find out where she came from. Watching her struggle to figure out her real birth date is quite stunning.\u003c/p>\n\u003cp>Yet more babies were abandoned after the mass industrialization of Korea began in 1961, and the poverty rates went up. Parents who couldn’t afford to send their kids to school sometimes gave them to orphanages where children were guaranteed a basic education.\u003c/p>\n\u003cfigure id=\"attachment_13913613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png\" alt=\"A white woman with blue eyes, wearing a white jacket and blue hat holds an Asian baby close to her, smiling warmly.\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-768x447.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1536x894.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-2048x1191.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1920x1117.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LenaKim Arctaedius as a baby, in the arms of her Swedish adoptive mother, as seen in ‘Geographies of Kinship.’ Arctaedius is the only subject in the documentary who had a truly happy childhood. \u003ccite>('Geographies of Kinship')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, hunger to adopt Korean babies increased across the United States and Europe. Orphanages and adoption agencies began actively seeking out children in impoverished areas, tempting birth parents with promises of better lives for their kids. Yet there were no regulations in place to give those children a safety net. \u003cem>Kinship\u003c/em> is precise about just how many children got caught in the crossfire. In Korea in 1955, 715 children were abandoned to about 300 orphanages. In 1968, there were 600 orphanages housing around 70,000 children. Overseas adoption rates went from under 3,000 in the 1950s to over 66,000 in the 1980s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Geographies of Kinship\u003c/em> made the film festival rounds back in 2019. It’s being revived now as part of \u003ca href=\"https://worldchannel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">WORLD Channel\u003c/a>’s celebration of AAPI Heritage Month. But it’s a documentary that will be important long into the future.\u003c/p>\n\u003cp>It’s a testament to humanity’s longing for roots and family. It’s an important history lesson related to American intervention overseas. And it also acts as an indictment: this is what happens when single and working-class mothers are not given the support they need to give their kids even basic opportunities. That final point is something well worth discussing, especially as American women face a future where motherhood is no longer a choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Geographies of Kinship’ is streaming now on the WORLD Channel. \u003ca href=\"https://worldchannel.org/episode/america-reframed-geographies-of-kinship/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘George Carlin’s American Dream’ is Revelatory, Motivational and—Yes—Very Funny",
"headTitle": "‘George Carlin’s American Dream’ is Revelatory, Motivational and—Yes—Very Funny | KQED",
"content": "\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0031976/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Judd Apatow\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0094397/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Bonfiglio\u003c/a>’s new HBO documentary about George Carlin feels incredibly relevant. Since Samuel Alito’s draft decision on Roe v. Wade leaked, Carlin’s commentary about abortion (“They’re not pro-life, they’re anti-woman”) has, yet again, gone viral on social media.\u003c/p>\n\u003cp>https://twitter.com/thetonymichaels/status/1521303464327929857\u003c/p>\n\u003cp>Watching \u003cem>\u003ca href=\"https://www.hbo.com/george-carlins-american-dream\" target=\"_blank\" rel=\"noopener noreferrer\">George Carlin’s American Dream\u003c/a>\u003c/em> though, what strikes you over and over again is that a Carlin documentary feels timely in 2022 because it would have felt timely at pretty much any point over the last 20 years. It would have been meaningful in 2017 because of tiki torch Nazis. (“When fascism comes to America,” the comedian once said, “it won’t wear jack boots and brown shirts, it’ll have on a smiling face and a T-shirt and designer jeans.”) It would have felt suited to 2020 because of Carlin’s searing commentary on police brutality in the ’80s and ’90s. His 1992 material on the first Gulf War is applicable to every conflict the United States has been involved with this century.\u003c/p>\n\u003cp>[aside postid='arts_13911949']The examples of just how many things Carlin got right and/or predicted over the course of his nearly 50-year career are too numerous to list here. But as W. Kamau Bell notes in the second half of this two-part, three-and-a-half hour documentary: “I mean we all love Lenny Bruce. But no one’s sharing a Lenny Bruce bit to explain what’s happening in the culture right now.”\u003c/p>\n\u003cp>By contrast, not only has Carlin’s material never lost its relevance, if anything, it only makes more sense as the years tick by. Sure, Carlin understood in his own time that the world was a corrupt and crappy place. But, as \u003cem>George Carlin’s American Dream\u003c/em> brilliantly demonstrates, he also somehow knew all of the worst things on the horizon of American culture. And somehow, despite his unflappable cynicism, he successfully made all that bad news, all that dark philosophy, all of that political scrutiny and all of the increasing hopelessness he felt unfathomably funny.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWCGCacySrQ\u003c/p>\n\u003cp>Like Carlin’s own material, Apatow and Bonfiglio do us the favor of not sugar-coating anything about Carlin’s life, be it personal or professional.\u003c/p>\n\u003cp>We see Carlin’s start as a straight-laced, be-suited, variety show performer in the early ’60s—an oft-forgotten period of his career. We see Carlin in the early ’80s at his lowest point, making tired jokes and dealing with mockery from the younger, hipper comedians he paved the way for. (At one point, Cheech Marin called Carlin “obsolete.”) We hear about the damage wrought by his cocaine addiction from the person it damaged the most—his daughter, Kelly. (Tape recordings of Carlin yelling at himself in a coked-out stupor are genuinely disturbing.) And a spotlight is held firmly over the darker stand-up material that emerged at the end of Carlin’s career. Material in which he claimed, among other things, to enjoy watching people die in natural disasters.\u003c/p>\n\u003cp>[aside postid='arts_13904228']The harsh details of his biography are broken up by Carlin’s own best stand-up clips (including, of course, the legendary “\u003ca href=\"https://www.youtube.com/watch?v=vbZhpf3sQxQ\" target=\"_blank\" rel=\"noopener noreferrer\">7 Dirty Words\u003c/a>” routine that shot him to superstardom in the 1970s.) Those incredibly clever, mostly hilarious bits are enhanced with insightful commentary from fellow comedians, including Chris Rock, Jerry Seinfeld, Bette Midler, Bill Burr and Patton Oswalt. What’s more, close-ups of his hand-written notes-to-self provide insight into Carlin’s thought process and working style. These glimpses feel revelatory. (One says simply: “ABORTION, GUNS, GOD and GAYS should be: JOBS, EDUCATION and HEALTHCARE.”) His love notes to Brenda Carlin, his wife of 36 years, also appear here, surprisingly intimate and sometimes shockingly gooey.\u003c/p>\n\u003cp>At the end of it all, one is left with the impression that Carlin’s famous caustic persona was the result of a perfect storm. High IQ plus unsatisfied idealism, plus deep sensitivity, plus rebellious spirit all added up to the George Carlin many of his peers and successors consider one of the greatest comedians of all time. And there is ample evidence in the documentary to convincingly back up that claim.\u003c/p>\n\u003cp>In one scene, Jon Stewart sums up the reason for Carlin’s longevity best. “I still refer to him all the time,” Stewart says. “Which for a comic… I mean, comedy is so ephemeral in so many ways. It takes him out of the class of pop star and puts him in the class of Bach and Beethoven and classicists—people that created something that was timeless because it wasn’t based on a moment, it was based on a deeper truth.”\u003c/p>\n\u003cp>\u003cem>George Carlin’s American Dream\u003c/em> will expose you to myriad truths—about life, about comedy, about power, about pain. Some of them hurt, some of them entertain, but all, presented through Carlin’s eyes, feel inspiring, motivating and, frankly, like a kick in the ass. Even 14 years after his death, Carlin’s words still have the power to give us a jolt. It’s up to us now to figure out what to do with them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘George Carlin’s American Dream’ premieres on HBO Max on Friday, May 20 at 8pm. \u003ca href=\"https://www.hbo.com/george-carlins-american-dream\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0031976/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Judd Apatow\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0094397/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Bonfiglio\u003c/a>’s new HBO documentary about George Carlin feels incredibly relevant. Since Samuel Alito’s draft decision on Roe v. Wade leaked, Carlin’s commentary about abortion (“They’re not pro-life, they’re anti-woman”) has, yet again, gone viral on social media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Watching \u003cem>\u003ca href=\"https://www.hbo.com/george-carlins-american-dream\" target=\"_blank\" rel=\"noopener noreferrer\">George Carlin’s American Dream\u003c/a>\u003c/em> though, what strikes you over and over again is that a Carlin documentary feels timely in 2022 because it would have felt timely at pretty much any point over the last 20 years. It would have been meaningful in 2017 because of tiki torch Nazis. (“When fascism comes to America,” the comedian once said, “it won’t wear jack boots and brown shirts, it’ll have on a smiling face and a T-shirt and designer jeans.”) It would have felt suited to 2020 because of Carlin’s searing commentary on police brutality in the ’80s and ’90s. His 1992 material on the first Gulf War is applicable to every conflict the United States has been involved with this century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The examples of just how many things Carlin got right and/or predicted over the course of his nearly 50-year career are too numerous to list here. But as W. Kamau Bell notes in the second half of this two-part, three-and-a-half hour documentary: “I mean we all love Lenny Bruce. But no one’s sharing a Lenny Bruce bit to explain what’s happening in the culture right now.”\u003c/p>\n\u003cp>By contrast, not only has Carlin’s material never lost its relevance, if anything, it only makes more sense as the years tick by. Sure, Carlin understood in his own time that the world was a corrupt and crappy place. But, as \u003cem>George Carlin’s American Dream\u003c/em> brilliantly demonstrates, he also somehow knew all of the worst things on the horizon of American culture. And somehow, despite his unflappable cynicism, he successfully made all that bad news, all that dark philosophy, all of that political scrutiny and all of the increasing hopelessness he felt unfathomably funny.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TWCGCacySrQ'\n title='//www.youtube.com/embed/TWCGCacySrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Carlin’s own material, Apatow and Bonfiglio do us the favor of not sugar-coating anything about Carlin’s life, be it personal or professional.\u003c/p>\n\u003cp>We see Carlin’s start as a straight-laced, be-suited, variety show performer in the early ’60s—an oft-forgotten period of his career. We see Carlin in the early ’80s at his lowest point, making tired jokes and dealing with mockery from the younger, hipper comedians he paved the way for. (At one point, Cheech Marin called Carlin “obsolete.”) We hear about the damage wrought by his cocaine addiction from the person it damaged the most—his daughter, Kelly. (Tape recordings of Carlin yelling at himself in a coked-out stupor are genuinely disturbing.) And a spotlight is held firmly over the darker stand-up material that emerged at the end of Carlin’s career. Material in which he claimed, among other things, to enjoy watching people die in natural disasters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The harsh details of his biography are broken up by Carlin’s own best stand-up clips (including, of course, the legendary “\u003ca href=\"https://www.youtube.com/watch?v=vbZhpf3sQxQ\" target=\"_blank\" rel=\"noopener noreferrer\">7 Dirty Words\u003c/a>” routine that shot him to superstardom in the 1970s.) Those incredibly clever, mostly hilarious bits are enhanced with insightful commentary from fellow comedians, including Chris Rock, Jerry Seinfeld, Bette Midler, Bill Burr and Patton Oswalt. What’s more, close-ups of his hand-written notes-to-self provide insight into Carlin’s thought process and working style. These glimpses feel revelatory. (One says simply: “ABORTION, GUNS, GOD and GAYS should be: JOBS, EDUCATION and HEALTHCARE.”) His love notes to Brenda Carlin, his wife of 36 years, also appear here, surprisingly intimate and sometimes shockingly gooey.\u003c/p>\n\u003cp>At the end of it all, one is left with the impression that Carlin’s famous caustic persona was the result of a perfect storm. High IQ plus unsatisfied idealism, plus deep sensitivity, plus rebellious spirit all added up to the George Carlin many of his peers and successors consider one of the greatest comedians of all time. And there is ample evidence in the documentary to convincingly back up that claim.\u003c/p>\n\u003cp>In one scene, Jon Stewart sums up the reason for Carlin’s longevity best. “I still refer to him all the time,” Stewart says. “Which for a comic… I mean, comedy is so ephemeral in so many ways. It takes him out of the class of pop star and puts him in the class of Bach and Beethoven and classicists—people that created something that was timeless because it wasn’t based on a moment, it was based on a deeper truth.”\u003c/p>\n\u003cp>\u003cem>George Carlin’s American Dream\u003c/em> will expose you to myriad truths—about life, about comedy, about power, about pain. Some of them hurt, some of them entertain, but all, presented through Carlin’s eyes, feel inspiring, motivating and, frankly, like a kick in the ass. Even 14 years after his death, Carlin’s words still have the power to give us a jolt. It’s up to us now to figure out what to do with them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘George Carlin’s American Dream’ premieres on HBO Max on Friday, May 20 at 8pm. \u003ca href=\"https://www.hbo.com/george-carlins-american-dream\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Free Chol Soo Lee’ Resurrects a Reluctant Asian American Icon",
"headTitle": "‘Free Chol Soo Lee’ Resurrects a Reluctant Asian American Icon | KQED",
"content": "\u003cp>As tempting as it is to call Chol Soo Lee a tragic figure, it would be a disservice. No one-word summation can accurately describe his roller-coaster life of shocking spills and stratospheric thrills.\u003c/p>\n\u003cp>Lee was the central figure in a pivotal chapter of San Francisco history, albeit one that is perhaps not widely remembered outside of the Korean American community. In 1973, a few months shy of his 21st birthday, Lee was arrested for a gang hit at the corner of Pacific and Grant on a Sunday afternoon.\u003c/p>\n\u003cp>Los Angeles filmmakers Eugene Yi and Julie Ha recount Lee’s terrible saga without histrionics or melodrama in their invaluable debut \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Free Chol Soo Lee\u003c/em>\u003c/a>. The documentary, which premiered at Sundance, opens the 40th annual CAAMFest on Thursday, May 12 at the Castro. \u003c/p>\n\u003cp>Lee was wrongfully convicted of the Chinatown murder on the basis of numerous criminal justice errors that depended, in part, on the racist belief of white eyewitnesses that “all Asians looked alike.”\u003c/p>\n\u003cfigure id=\"attachment_13913154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg\" alt=\"Black and white image of Korean man speaking\" width=\"1200\" height=\"939\" class=\"size-full wp-image-13913154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-768x601.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chol Soo Lee \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The institutions, the media and law enforcement, the judicial system have continued to remain ignorant and insensitive,” Sacramento-based Korean American journalist K.W. Lee says in the film. “And that’s why I felt it was my calling to make some small dent in that wall of ignorance and insensitivity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>K.W. Lee visited Choo Sol Lee in prison, and wrote dozens of articles about him and the flawed case. The reporter sent books to the inmate, and over time became something of a father figure to him. \u003ci>Free Chol Soo Lee\u003c/i> introduces us to many voices of conscience, but none are more compelling than K.W. Lee’s. \u003c/p>\n\u003cp>A friend of Chol Soo Lee, Ranko Yamada, along with other college students (including the late San Francisco public defender Jeff Adachi), organized to publicize his case and to raise funds for his defense. Their efforts to free Lee—who ultimately spent a decade in prison, four of those years on Death Row—depended on the cross-generational success of tapping into Korean American churches.\u003c/p>\n\u003cp>\u003cem>Free Chol Soo Lee\u003c/em>, however, is far richer and more nuanced than a mere heroes-and-villains recounting of justice denied, or delayed. (To that end, the filmmakers dispense with the manipulative music and overtones that are endemic in wrongful-imprisonment documentaries on mainstream streaming services and lesser cable networks.)\u003c/p>\n\u003cfigure id=\"attachment_13913153\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png\" alt=\"Black and white image of people holding signs\" width=\"2200\" height=\"1397\" class=\"size-full wp-image-13913153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-2048x1300.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1920x1219.png 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Protesters in support of Chol Soo Lee. \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The charming but poorly educated Lee, who’d been uprooted from his happy Korean childhood and brought by his damaged mother to the Bay Area, was unprepared to be celebrated as a symbol and spokesperson for Asian American activism and community empowerment. How does a guy who’s spent the last 10 years confined to a cell live up to the expectations of an entire community? And how does a community deal with their cause’s ongoing troubles and demons?\u003c/p>\n\u003cp>The documentary, which will air on PBS’ \u003ci>Independent Lens\u003c/i> later this year, recognizes Lee’s importance to the Korean American community as an example of prejudice and injustice. But the film also remains steadfastly determined to keep the man—and his complicated journey of isolation, torment and frustration—front and center. The excerpts from his posthumously published memoir, voiced with conversational power by Sebastian Yoon, contribute enormously to that effort.\u003c/p>\n\u003cp>Consequently, only after 90 minutes can we grasp that the title is ironic as well as declamatory: Chol Soo Lee was never free, except in fleeting moments.\u003c/p>\n\u003cp>What imbues \u003cem>Free Chol Soo Lee\u003c/em> with a sense of grace, though, is Lee’s eventual maturity. He moved beyond the victimhood and resentment that understandably afflicted him for stretches in his life, and took responsibility for his mistakes.\u003c/p>\n\u003cp>As usual, K.W. Lee has the clearest perspective. “It was just by the grace of God that I eluded the fate that fell on him,” he says. “Because there’s a very thin line between him and me. I was lucky. He was not lucky. There are an awful lot of unlucky people. Especially Asians.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Free Chol Soo See’ opens CAAMFest at 6:30pm on Thursday, May 12 at the Castro Theater. Free tickets are available \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As tempting as it is to call Chol Soo Lee a tragic figure, it would be a disservice. No one-word summation can accurately describe his roller-coaster life of shocking spills and stratospheric thrills.\u003c/p>\n\u003cp>Lee was the central figure in a pivotal chapter of San Francisco history, albeit one that is perhaps not widely remembered outside of the Korean American community. In 1973, a few months shy of his 21st birthday, Lee was arrested for a gang hit at the corner of Pacific and Grant on a Sunday afternoon.\u003c/p>\n\u003cp>Los Angeles filmmakers Eugene Yi and Julie Ha recount Lee’s terrible saga without histrionics or melodrama in their invaluable debut \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Free Chol Soo Lee\u003c/em>\u003c/a>. The documentary, which premiered at Sundance, opens the 40th annual CAAMFest on Thursday, May 12 at the Castro. \u003c/p>\n\u003cp>Lee was wrongfully convicted of the Chinatown murder on the basis of numerous criminal justice errors that depended, in part, on the racist belief of white eyewitnesses that “all Asians looked alike.”\u003c/p>\n\u003cfigure id=\"attachment_13913154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg\" alt=\"Black and white image of Korean man speaking\" width=\"1200\" height=\"939\" class=\"size-full wp-image-13913154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-768x601.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chol Soo Lee \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The institutions, the media and law enforcement, the judicial system have continued to remain ignorant and insensitive,” Sacramento-based Korean American journalist K.W. Lee says in the film. “And that’s why I felt it was my calling to make some small dent in that wall of ignorance and insensitivity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>K.W. Lee visited Choo Sol Lee in prison, and wrote dozens of articles about him and the flawed case. The reporter sent books to the inmate, and over time became something of a father figure to him. \u003ci>Free Chol Soo Lee\u003c/i> introduces us to many voices of conscience, but none are more compelling than K.W. Lee’s. \u003c/p>\n\u003cp>A friend of Chol Soo Lee, Ranko Yamada, along with other college students (including the late San Francisco public defender Jeff Adachi), organized to publicize his case and to raise funds for his defense. Their efforts to free Lee—who ultimately spent a decade in prison, four of those years on Death Row—depended on the cross-generational success of tapping into Korean American churches.\u003c/p>\n\u003cp>\u003cem>Free Chol Soo Lee\u003c/em>, however, is far richer and more nuanced than a mere heroes-and-villains recounting of justice denied, or delayed. (To that end, the filmmakers dispense with the manipulative music and overtones that are endemic in wrongful-imprisonment documentaries on mainstream streaming services and lesser cable networks.)\u003c/p>\n\u003cfigure id=\"attachment_13913153\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png\" alt=\"Black and white image of people holding signs\" width=\"2200\" height=\"1397\" class=\"size-full wp-image-13913153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-2048x1300.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1920x1219.png 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Protesters in support of Chol Soo Lee. \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The charming but poorly educated Lee, who’d been uprooted from his happy Korean childhood and brought by his damaged mother to the Bay Area, was unprepared to be celebrated as a symbol and spokesperson for Asian American activism and community empowerment. How does a guy who’s spent the last 10 years confined to a cell live up to the expectations of an entire community? And how does a community deal with their cause’s ongoing troubles and demons?\u003c/p>\n\u003cp>The documentary, which will air on PBS’ \u003ci>Independent Lens\u003c/i> later this year, recognizes Lee’s importance to the Korean American community as an example of prejudice and injustice. But the film also remains steadfastly determined to keep the man—and his complicated journey of isolation, torment and frustration—front and center. The excerpts from his posthumously published memoir, voiced with conversational power by Sebastian Yoon, contribute enormously to that effort.\u003c/p>\n\u003cp>Consequently, only after 90 minutes can we grasp that the title is ironic as well as declamatory: Chol Soo Lee was never free, except in fleeting moments.\u003c/p>\n\u003cp>What imbues \u003cem>Free Chol Soo Lee\u003c/em> with a sense of grace, though, is Lee’s eventual maturity. He moved beyond the victimhood and resentment that understandably afflicted him for stretches in his life, and took responsibility for his mistakes.\u003c/p>\n\u003cp>As usual, K.W. Lee has the clearest perspective. “It was just by the grace of God that I eluded the fate that fell on him,” he says. “Because there’s a very thin line between him and me. I was lucky. He was not lucky. There are an awful lot of unlucky people. Especially Asians.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Free Chol Soo See’ opens CAAMFest at 6:30pm on Thursday, May 12 at the Castro Theater. Free tickets are available \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality",
"headTitle": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality | KQED",
"content": "\u003cp>With his long beard, dark waistcoat and piercing stare, Eadweard Muybridge personifies, in photographs, a certain type of 19th-century Englishman. But Muybridge wasn’t cut from any mold. Indeed, his arrival in San Francisco in 1855 as a bookseller, and his return a dozen years later as a photographer, puts him in the forefront of two modern phenomena: iconoclasts who came West to reinvent themselves, and technological innovation. \u003c/p>\n\u003cp>“Most historical figures get treated as antiques on a shelf, as time capsules to an earlier age,” muses Oakland filmmaker Marc Shaffer. “No matter how significant they may be, they’re nonetheless thought of as of the past, and so there’s a kind of distance there.”[aside postID='arts_13842189']\u003c/p>\n\u003cp>Muybridge, though, is an exception. You may be familiar with his signature motion-photography project, undertaken in the 1870s at the behest of and funded by the powerful railroad man and prideful Palo Alto horse trainer Leland Stanford to ascertain whether a galloping steed left the ground completely. The series of rapid-fire pictures is now viewed as a precursor to motion pictures.\u003c/p>\n\u003cp>Shaffer was unaware of Muybridge, in part because his career as an award-winning broadcast journalist and filmmaker for Frontline, Al-Jazeera and National Geographic (among others) was centered on the East Coast. When he encountered Muybridge’s striking photographs while researching \u003cem>\u003ca href=\"http://www.americanjerusalem.com/\" rel=\"noopener noreferrer\" target=\"_blank\">American Jerusalem: Jews and the Making of San Francisco\u003c/a>\u003c/em> (2014), the Berkeley native was stunned.\u003c/p>\n\u003cfigure id=\"attachment_13912943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg\" alt=\"Stereo image of man with back to camera looking out at SF Bay\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Muybridge photograph, ‘Golden Gate, From Goat Island,’ 1870. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Muybridge, as I got to know his story and I got to understand the impact of his work, I realized he was a kind of starting point—an origin story—for us, who live in a sea of visual storytelling,” Shaffer explains. “Our modern culture is defined by technological visual storytelling in some really important ways that go back to Muybridge.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em>, Shaffer’s deliciously probing and philosophical recounting of Muybridge’s strange and colorful life, screens Saturday, May 7 at 8pm in \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, the California Film Institute’s annual documentary festival at the Smith Rafael Film Center. \u003c/p>\n\u003cp>Winner of the 2022 Writers Guild Award for documentary screenplay, the film is also distinguished by the creative editing of Elisabeth Haviland James (a product of Stanford University’s graduate documentary program, coincidentally), Chad Cannon’s thoughtful score and Muybridge collector and aficionado Gary Oldman’s numerous amusing and pointed comments (alongside those of certified historians and scholars).\u003c/p>\n\u003cfigure id=\"attachment_13912940\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman with photograph of Muybridge in a still from ‘Exposing Muybridge.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Shaffer was less interested in cementing Muybridge’s role in the evolution of cinema than in wrestling with the moral and aesthetic choices he made. \u003c/p>\n\u003cp>“I’m very animated by questions around truth, what is true and the power of a storyteller to filter reality and essentially define it for audiences,” Shaffer says. “That was my experience as a news producer, and since that’s something I’ve struggled with my whole career, when I encountered it in Muybridge’s work it deeply resonated.” \u003c/p>\n\u003cp>While Muybridge’s work has been covered by scholars and popular writers, Shaffer says, the trustworthiness of his images hasn’t been a dominant theme in most of that work. “It’s really quite secondary,” he says. “As a person who’s been entrusted to make sense out of the world, that Muybridge was not so reliable in that regard kind of jumped off the page to me.”\u003c/p>\n\u003cp>Muybridge took liberties like adding clouds to a landscape during processing (fixing it in post, we call it today). Like other photographers, he was compensating for the rudimentary quality of the medium and the camera, which couldn’t expose the ground and the sky at the same time. \u003c/p>\n\u003cfigure id=\"attachment_13912944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg\" alt=\"Three rows of black-and-white images of different angles of nude woman sitting in chair smoking\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13912944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-768x434.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A detail from Muybridge’s ‘Animal Locomotion’ series from 1887. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He considered himself an artist, he described his photographs as ‘illustrated by Muybridge,’ Shaffer explains. “I think that he believed that he didn’t just have the license, he had the \u003cem>obligation\u003c/em> to make the most aesthetically pleasing images he could, which would often mean producing a fiction: things that didn’t exist in nature. Part of that was just the beauty of what he could do with his camera, kind of an early Photoshop [way of] manipulating things in the frame that weren’t there.”\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> lingers on a more problematic photo, in a \u003ci>Harper’s Weekly\u003c/i> spread, that purported to be a Modoc warrior. In fact, Muybridge “cast” a Native American scout with the U.S. Army—a member of the Warm Springs tribe—holding a government carbine.[aside postID='arts_13908371']\u003c/p>\n\u003cp>“I had an evolution [over] 10 years,” Shaffer confides. “Maybe I started from a place that was more judgmental: Muybridge had done something wrong. He manipulated his images without being transparent, or mischaracterized some of them because it was convenient for him. He needed to be held accountable, almost in an investigative reporting sense. We found out he did something and he didn’t tell us about it and that’s betrayal.”\u003c/p>\n\u003cp>Shaffer, who speaks in paragraphs rather than soundbites, continues, “I came to have a greater appreciation for different kinds of truths. As [photographer] Byron Wolfe says in the film, his photography is more like poetry. If you understand him in those terms, you can appreciate that it’s what all art is, it has the capacity to have a deeper truth, a resonant emotional truth, that transcends the physical reality of what it represents.”\u003c/p>\n\u003cfigure id=\"attachment_13912945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg\" alt=\"Man smiles on film set with row of cameras set up behind him\" width=\"1200\" height=\"1137\" class=\"size-full wp-image-13912945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-768x728.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Exposing Muybridge’ director Marc Shaffer. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who’s made media for mainstream audiences for decades, Shaffer is sensitive not only to the responsibilities of the individual behind the camera but to the expectations of the viewer. And he wishes audiences were more skeptical and less passive.\u003c/p>\n\u003cp>“Photographs have always had an authority to them,” he notes. “We’ve had this comfort with the machine-made image. Part of it feels like it’s unfiltered. A painter paints but a camera makes the real thing. And maybe there’s a greater sense of betrayal when you discover that the person controlling the camera made something that isn’t true—‘true’ is a tricky word—it isn’t what was in front of his camera.”\u003c/p>\n\u003cp>[aside postID='arts_13894535']Muybridge was a complicated figure; he changed his name from the prosaic Edward James Muggeridge in stages after his departure from England. He subsequently suffered a head injury between his two Bay Area residencies that likely altered his personality. (One of the more colorful passages in the film concerns the action he took against the man he believed to be his wife’s lover, resulting in Muybridge’s trial for murder.) If Shaffer and his assembled experts are uncomfortable when he manipulates photographs—notably in his massive animal locomotion series at the University of Pennsylvania—they confess admiration for Muybridge’s drive, initiative, stubbornness and independence.\u003c/p>\n\u003cp>“Muybridge has patrons, and he who pays the piper names the tune,” Shaffer says. “What I loved about Muybridge was the way he hijacked his commissions. He was dependent on the resources of powerful interests, like the U.S. government, or railroads, or Leland Stanford, with their own agenda, who would hire him to serve them—and he did, he did it well, he wasn’t a social reformer in that respect, he was a tool of Western expansion—but as an artist he would always bend it in some bizarre way that part of me admired and couldn’t quite believe he got away with.”\u003c/p>\n\u003cp>Early in his career, Muybridge was hired to go to Alaska and take photographs of military ports and harbors. He did that, and also came back with wonderful pictures of the Native Tlingit people. \u003c/p>\n\u003cp>“This happens over and over and over again with him,” Shaffer says, “and I, as somebody who’s done a lot of commissioned film over the years, that’s always been a bit of my impulse as well. I’ve always had this subversive instinct to steal the commission and make the film I felt needed to be made. Which was often not exactly the film that the commissioner wanted or asked me to make. So when I saw that in his work I had a great appreciation for it.”\u003c/p>\n\u003cp>https://youtu.be/xeMMIofB3uU\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> raises a wealth of questions about the creation, the nature and the consumption of image-making. Because the work in question dates from more than 125 years ago, the debate is relevant without being charged. But there’s a crucial element of visual representation that Shaffer considers paramount.\u003c/p>\n\u003cp>“I think my film is pretty straightforward but I hope people leave the theater with a refreshed appreciation for just how powerful the machine is,” he declares. “And who controls it. That the power of that machine lies in the hands of the person who controls it, and the extent to which we are served or harmed by it has to do with how much we can trust the person behind the machine. That doesn’t mean they don’t have a point of view; everybody has a point a view. It doesn’t mean they don’t have an agenda of some kind. It has to do with the level of transparency and honesty with which they treat the audience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Exposing Muybridge’ screens in-theater at the Smith Rafael Film Center on Saturday, May 7 at 8pm. Online streaming is also available to California viewers. \u003ca href=\"https://www.doclands.com/exposing-muybridge/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his long beard, dark waistcoat and piercing stare, Eadweard Muybridge personifies, in photographs, a certain type of 19th-century Englishman. But Muybridge wasn’t cut from any mold. Indeed, his arrival in San Francisco in 1855 as a bookseller, and his return a dozen years later as a photographer, puts him in the forefront of two modern phenomena: iconoclasts who came West to reinvent themselves, and technological innovation. \u003c/p>\n\u003cp>“Most historical figures get treated as antiques on a shelf, as time capsules to an earlier age,” muses Oakland filmmaker Marc Shaffer. “No matter how significant they may be, they’re nonetheless thought of as of the past, and so there’s a kind of distance there.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muybridge, though, is an exception. You may be familiar with his signature motion-photography project, undertaken in the 1870s at the behest of and funded by the powerful railroad man and prideful Palo Alto horse trainer Leland Stanford to ascertain whether a galloping steed left the ground completely. The series of rapid-fire pictures is now viewed as a precursor to motion pictures.\u003c/p>\n\u003cp>Shaffer was unaware of Muybridge, in part because his career as an award-winning broadcast journalist and filmmaker for Frontline, Al-Jazeera and National Geographic (among others) was centered on the East Coast. When he encountered Muybridge’s striking photographs while researching \u003cem>\u003ca href=\"http://www.americanjerusalem.com/\" rel=\"noopener noreferrer\" target=\"_blank\">American Jerusalem: Jews and the Making of San Francisco\u003c/a>\u003c/em> (2014), the Berkeley native was stunned.\u003c/p>\n\u003cfigure id=\"attachment_13912943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg\" alt=\"Stereo image of man with back to camera looking out at SF Bay\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Muybridge photograph, ‘Golden Gate, From Goat Island,’ 1870. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Muybridge, as I got to know his story and I got to understand the impact of his work, I realized he was a kind of starting point—an origin story—for us, who live in a sea of visual storytelling,” Shaffer explains. “Our modern culture is defined by technological visual storytelling in some really important ways that go back to Muybridge.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em>, Shaffer’s deliciously probing and philosophical recounting of Muybridge’s strange and colorful life, screens Saturday, May 7 at 8pm in \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, the California Film Institute’s annual documentary festival at the Smith Rafael Film Center. \u003c/p>\n\u003cp>Winner of the 2022 Writers Guild Award for documentary screenplay, the film is also distinguished by the creative editing of Elisabeth Haviland James (a product of Stanford University’s graduate documentary program, coincidentally), Chad Cannon’s thoughtful score and Muybridge collector and aficionado Gary Oldman’s numerous amusing and pointed comments (alongside those of certified historians and scholars).\u003c/p>\n\u003cfigure id=\"attachment_13912940\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman with photograph of Muybridge in a still from ‘Exposing Muybridge.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Shaffer was less interested in cementing Muybridge’s role in the evolution of cinema than in wrestling with the moral and aesthetic choices he made. \u003c/p>\n\u003cp>“I’m very animated by questions around truth, what is true and the power of a storyteller to filter reality and essentially define it for audiences,” Shaffer says. “That was my experience as a news producer, and since that’s something I’ve struggled with my whole career, when I encountered it in Muybridge’s work it deeply resonated.” \u003c/p>\n\u003cp>While Muybridge’s work has been covered by scholars and popular writers, Shaffer says, the trustworthiness of his images hasn’t been a dominant theme in most of that work. “It’s really quite secondary,” he says. “As a person who’s been entrusted to make sense out of the world, that Muybridge was not so reliable in that regard kind of jumped off the page to me.”\u003c/p>\n\u003cp>Muybridge took liberties like adding clouds to a landscape during processing (fixing it in post, we call it today). Like other photographers, he was compensating for the rudimentary quality of the medium and the camera, which couldn’t expose the ground and the sky at the same time. \u003c/p>\n\u003cfigure id=\"attachment_13912944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg\" alt=\"Three rows of black-and-white images of different angles of nude woman sitting in chair smoking\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13912944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-768x434.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A detail from Muybridge’s ‘Animal Locomotion’ series from 1887. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He considered himself an artist, he described his photographs as ‘illustrated by Muybridge,’ Shaffer explains. “I think that he believed that he didn’t just have the license, he had the \u003cem>obligation\u003c/em> to make the most aesthetically pleasing images he could, which would often mean producing a fiction: things that didn’t exist in nature. Part of that was just the beauty of what he could do with his camera, kind of an early Photoshop [way of] manipulating things in the frame that weren’t there.”\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> lingers on a more problematic photo, in a \u003ci>Harper’s Weekly\u003c/i> spread, that purported to be a Modoc warrior. In fact, Muybridge “cast” a Native American scout with the U.S. Army—a member of the Warm Springs tribe—holding a government carbine.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had an evolution [over] 10 years,” Shaffer confides. “Maybe I started from a place that was more judgmental: Muybridge had done something wrong. He manipulated his images without being transparent, or mischaracterized some of them because it was convenient for him. He needed to be held accountable, almost in an investigative reporting sense. We found out he did something and he didn’t tell us about it and that’s betrayal.”\u003c/p>\n\u003cp>Shaffer, who speaks in paragraphs rather than soundbites, continues, “I came to have a greater appreciation for different kinds of truths. As [photographer] Byron Wolfe says in the film, his photography is more like poetry. If you understand him in those terms, you can appreciate that it’s what all art is, it has the capacity to have a deeper truth, a resonant emotional truth, that transcends the physical reality of what it represents.”\u003c/p>\n\u003cfigure id=\"attachment_13912945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg\" alt=\"Man smiles on film set with row of cameras set up behind him\" width=\"1200\" height=\"1137\" class=\"size-full wp-image-13912945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-768x728.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Exposing Muybridge’ director Marc Shaffer. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who’s made media for mainstream audiences for decades, Shaffer is sensitive not only to the responsibilities of the individual behind the camera but to the expectations of the viewer. And he wishes audiences were more skeptical and less passive.\u003c/p>\n\u003cp>“Photographs have always had an authority to them,” he notes. “We’ve had this comfort with the machine-made image. Part of it feels like it’s unfiltered. A painter paints but a camera makes the real thing. And maybe there’s a greater sense of betrayal when you discover that the person controlling the camera made something that isn’t true—‘true’ is a tricky word—it isn’t what was in front of his camera.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Muybridge was a complicated figure; he changed his name from the prosaic Edward James Muggeridge in stages after his departure from England. He subsequently suffered a head injury between his two Bay Area residencies that likely altered his personality. (One of the more colorful passages in the film concerns the action he took against the man he believed to be his wife’s lover, resulting in Muybridge’s trial for murder.) If Shaffer and his assembled experts are uncomfortable when he manipulates photographs—notably in his massive animal locomotion series at the University of Pennsylvania—they confess admiration for Muybridge’s drive, initiative, stubbornness and independence.\u003c/p>\n\u003cp>“Muybridge has patrons, and he who pays the piper names the tune,” Shaffer says. “What I loved about Muybridge was the way he hijacked his commissions. He was dependent on the resources of powerful interests, like the U.S. government, or railroads, or Leland Stanford, with their own agenda, who would hire him to serve them—and he did, he did it well, he wasn’t a social reformer in that respect, he was a tool of Western expansion—but as an artist he would always bend it in some bizarre way that part of me admired and couldn’t quite believe he got away with.”\u003c/p>\n\u003cp>Early in his career, Muybridge was hired to go to Alaska and take photographs of military ports and harbors. He did that, and also came back with wonderful pictures of the Native Tlingit people. \u003c/p>\n\u003cp>“This happens over and over and over again with him,” Shaffer says, “and I, as somebody who’s done a lot of commissioned film over the years, that’s always been a bit of my impulse as well. I’ve always had this subversive instinct to steal the commission and make the film I felt needed to be made. Which was often not exactly the film that the commissioner wanted or asked me to make. So when I saw that in his work I had a great appreciation for it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xeMMIofB3uU'\n title='//www.youtube.com/embed/xeMMIofB3uU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Exposing Muybridge\u003c/em> raises a wealth of questions about the creation, the nature and the consumption of image-making. Because the work in question dates from more than 125 years ago, the debate is relevant without being charged. But there’s a crucial element of visual representation that Shaffer considers paramount.\u003c/p>\n\u003cp>“I think my film is pretty straightforward but I hope people leave the theater with a refreshed appreciation for just how powerful the machine is,” he declares. “And who controls it. That the power of that machine lies in the hands of the person who controls it, and the extent to which we are served or harmed by it has to do with how much we can trust the person behind the machine. That doesn’t mean they don’t have a point of view; everybody has a point a view. It doesn’t mean they don’t have an agenda of some kind. It has to do with the level of transparency and honesty with which they treat the audience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Exposing Muybridge’ screens in-theater at the Smith Rafael Film Center on Saturday, May 7 at 8pm. Online streaming is also available to California viewers. \u003ca href=\"https://www.doclands.com/exposing-muybridge/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Cypress Hill Documentary 'Insane in the Brain' Chronicles a Blazing Triumph",
"headTitle": "New Cypress Hill Documentary ‘Insane in the Brain’ Chronicles a Blazing Triumph | KQED",
"content": "\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>[aside postid='arts_13909610']The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezoTkEIivrY\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>[aside postid='arts_13906331']That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ezoTkEIivrY'\n title='//www.youtube.com/embed/ezoTkEIivrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "These Women Fought Back Against Their Abusers—And Were Incarcerated for It",
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"content": "\u003cp>The U.N. has called it “\u003ca href=\"https://www.npr.org/2021/02/25/971525846/how-the-legal-system-can-better-address-a-rise-in-domestic-violence-amid-the-pan\">the shadow pandemic\u003c/a>“: there’s been a notable but as-yet difficult to quantify increase in intimate partner violence over the last two years, according to experts, most likely due to a combination of mental health issues, income loss and isolation.\u003c/p>\n\u003cp>It’s against this backdrop that filmmakers Natalie Pattillo and Daniel A. Nelson (the latter a San Francisco State University alum) made \u003ca href=\"https://andsoistayedfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>And So I Stayed\u003c/em>\u003c/a>, a documentary about how the U.S. justice system treats survivors of domestic violence, and what happens to the people who are incarcerated, separated from their children and otherwise made to pay incredibly steep prices for fighting back against their abusers.\u003c/p>\n\u003cp>The film follows three women, including Kim DaDou Brown, a formerly incarcerated survivor and activist who served 17 years in prison for killing her abuser in self-defense. Brown played a key role in passing New York’s Domestic Violence Survivors Justice Act, which allows a court to resentence a survivor of sexual, psychological or physical abuse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uM_wkVGr3oM\u003c/p>\n\u003cp>For co-director Pattillo, the topic is an intensely personal one: a close family member was killed by an abusive boyfriend in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As a survivor and woman of color, I believe that our film can uplift survivors in a culture where they are disbelieved and villainized rather than protected,” said Pattillo in a statement, describing the trauma-informed work that was necessary to build trust with the film’s subjects. “I believe it is my personal duty to not just make this film, but to make a searing, indelible impact on everyone who engages with it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘And So I Stayed’ screens at the Roxie Theater in San Francisco on Tuesday, April 12, at 6pm. Through a partnership with the Bay Area nonprofit \u003ca href=\"https://www.fivekeyshomefree.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Five Keys, Home Free\u003c/a>, local formerly incarcerated survivors will speak following the screening. \u003ca href=\"https://www.roxie.com/ai1ec_event/and-so-i-stayed/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The U.N. has called it “\u003ca href=\"https://www.npr.org/2021/02/25/971525846/how-the-legal-system-can-better-address-a-rise-in-domestic-violence-amid-the-pan\">the shadow pandemic\u003c/a>“: there’s been a notable but as-yet difficult to quantify increase in intimate partner violence over the last two years, according to experts, most likely due to a combination of mental health issues, income loss and isolation.\u003c/p>\n\u003cp>It’s against this backdrop that filmmakers Natalie Pattillo and Daniel A. Nelson (the latter a San Francisco State University alum) made \u003ca href=\"https://andsoistayedfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>And So I Stayed\u003c/em>\u003c/a>, a documentary about how the U.S. justice system treats survivors of domestic violence, and what happens to the people who are incarcerated, separated from their children and otherwise made to pay incredibly steep prices for fighting back against their abusers.\u003c/p>\n\u003cp>The film follows three women, including Kim DaDou Brown, a formerly incarcerated survivor and activist who served 17 years in prison for killing her abuser in self-defense. Brown played a key role in passing New York’s Domestic Violence Survivors Justice Act, which allows a court to resentence a survivor of sexual, psychological or physical abuse.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uM_wkVGr3oM'\n title='//www.youtube.com/embed/uM_wkVGr3oM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For co-director Pattillo, the topic is an intensely personal one: a close family member was killed by an abusive boyfriend in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As a survivor and woman of color, I believe that our film can uplift survivors in a culture where they are disbelieved and villainized rather than protected,” said Pattillo in a statement, describing the trauma-informed work that was necessary to build trust with the film’s subjects. “I believe it is my personal duty to not just make this film, but to make a searing, indelible impact on everyone who engages with it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘And So I Stayed’ screens at the Roxie Theater in San Francisco on Tuesday, April 12, at 6pm. Through a partnership with the Bay Area nonprofit \u003ca href=\"https://www.fivekeyshomefree.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Five Keys, Home Free\u003c/a>, local formerly incarcerated survivors will speak following the screening. \u003ca href=\"https://www.roxie.com/ai1ec_event/and-so-i-stayed/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix's 'jeen-yuhs: A Kanye Trilogy' is (Mostly) Genius",
"headTitle": "Netflix’s ‘jeen-yuhs: A Kanye Trilogy’ is (Mostly) Genius | KQED",
"content": "\u003cp>Netflix’s new docuseries, \u003cem>jeen-yuhs: A Kanye Trilogy\u003c/em>, is truly genius… for the first two-thirds, at least.\u003c/p>\n\u003cp>That’s not a bad average for an ambitious project: Assembled from footage recorded by old friends who have been trailing the mercurial rap star with a camera for over 20 years, \u003cem>jeen-yuhs\u003c/em> spans more than four hours divided into chunks about 90 minutes each.\u003c/p>\n\u003cp>[aside postid='pop_103462']The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X3d5rT7FGLE\u003c/p>\n\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>[aside postid='arts_13908594']Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uvb-1wjAtk4\u003c/p>\n\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>[aside postid='pop_49104']Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And is he okay now?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The three-part docuseries tracks the rapper's rise, starting as an up-and-coming producer in Chicago.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix’s new docuseries, \u003cem>jeen-yuhs: A Kanye Trilogy\u003c/em>, is truly genius… for the first two-thirds, at least.\u003c/p>\n\u003cp>That’s not a bad average for an ambitious project: Assembled from footage recorded by old friends who have been trailing the mercurial rap star with a camera for over 20 years, \u003cem>jeen-yuhs\u003c/em> spans more than four hours divided into chunks about 90 minutes each.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X3d5rT7FGLE'\n title='//www.youtube.com/embed/X3d5rT7FGLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uvb-1wjAtk4'\n title='//www.youtube.com/embed/uvb-1wjAtk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And is he okay now?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Black Activists Used Lynching Souvenirs to Expose American Violence",
"headTitle": "How Black Activists Used Lynching Souvenirs to Expose American Violence | KQED",
"content": "\u003cp>Photos showing the lynchings of African Americans in the 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> century are some of the most troubling records of the racist history of the United States.\u003c/p>\n\u003cp>But these black-and-white photographs are what filmmaker Christine Turner chose to focus on for her new documentary, \u003cem>Lynching Postcards: ‘Token Of A Great Day’. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13891832']Turner examined hundreds of these pictures and primarily focused on the ones that people who attended these lynchings sent as postcards to family and friends.\u003c/p>\n\u003cp>As the film opens, the first postcard people see is an image of a Black man hanging from a tree, but it’s zoomed in enough that all that can be seen of him are his dangling feet. The focus then becomes the white men standing behind him, looking directly at the camera, with some smiling.\u003c/p>\n\u003cp>Turner said she did this to train the audience’s eyes to focus on the participants and see their “sense of pride.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that for me, this story is so much about the participants of the lynching, more so than of the people who had been victimized,” Turner said. “I think oftentimes we think that lynchings are these spontaneous events, right? That a group of men in the woods decide to suddenly lynch someone. But these were planned events.”\u003c/p>\n\u003cfigure id=\"attachment_13909126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png\" alt=\"Hundreds of people gather in a field, some holding umbrellas, some sitting on horses. In the far distance, a ramshackle wooden platform with a few men standing on top.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-1020x725.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191.png 1533w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For her new documentary, Lynching Postcards: Token Of A Great Day, filmmaker Christine Turner examined hundreds of black-and-white photographs that show how organized these events were and included chilling messages that shared the experience with those who weren’t there. The postcard above shows the crowd at the lynching of Henry Smith in Paris, Texas, in 1893. \u003ccite>(Photo by J.L. Mertins/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These community events weren’t just the work of the infamous Ku Klux Klan, but of ordinary people from all social classes, Turner said.\u003c/p>\n\u003cp>In an interview with \u003cem>All Things Considered, \u003c/em>Turner spoke about the how photos from these events became postcards, how the postcards then became tools in anti-lynching campaigns, and the parallels with recent killings of Black men in America.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Adrian Florido: “Token Of A Great Day”—why that title?\u003c/strong>\u003c/p>\n\u003cp>Turner: “Token Of A Great Day” actually comes from a handwritten message on the back of one of these lynching postcards. And it speaks to the attitude and the viewpoint of many of the participants at these public spectacle lynchings. You know, these postcards were mementos. They were souvenirs from these events. And so for some, they were a token of a great day.\u003c/p>\n\u003cp>\u003cstrong>Something that surprised me watching your film was to learn that at the places where an upcoming lynching had been announced, photographers would strike deals with town officials to get a prime spot at the front of the crowd. These photographs and these postcards became a whole industry.\u003c/strong>\u003c/p>\n\u003cp>Exactly. And in the film, there’s one particular lynching that we focus in on. It’s the story of Jesse Washington, who was lynched in 1916 in Waco, Texas. And his lynching took place at city hall.\u003c/p>\n\u003cp>And the town photographer—his name was Fred Gildersleeve—actually worked with the local government to find a place to photograph the lynching that would take place. And these photographs that Gildersleeve took were later turned into postcards that were sold in the community.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rWMZlQ281gM\u003c/p>\n\u003cp>\u003cstrong>Why did these pictures get turned into postcards? Why were people clamoring for these souvenirs from these events?\u003c/strong>\u003c/p>\n\u003cp>Really, it was a way, I think, to sort of relive that experience of attending the lynching, right? And that sense of power and control, as historian Leigh Raiford talks about in the film. And it was also a way to disseminate that experience and to share that experience with friends and family.\u003c/p>\n\u003cp>[aside postid='arts_13908852']And in one postcard that is featured in the film, in the message on the back, the young man is writing to his parents, and he says, “This is the barbecue that we had last night”. And I think, in a way, these messages on the back are just as chilling as the images on the front.\u003c/p>\n\u003cp>\u003cstrong>These postcards were clearly a celebration of white supremacy, right? But at some point, they did become a tool for people who decided to do something about lynching, to launch anti-lynching campaigns. How did these postcards become the tool that these activists used?\u003c/strong>\u003c/p>\n\u003cp>What anti-lynching activists such as the NAACP did is they really turned these postcards on their head, and they used them as evidence in their fight against lynching. So they laid them out there to really shame the country and the world and to make people aware of what was happening all over.\u003c/p>\n\u003cp>So in making this film, it was really important to me to make a film that wasn’t just going to be another story of victimization. But really, this is a story of Black resistance. And at its core, it’s about how these postcards were ultimately turned on their head and were subverted by these Black activists.\u003c/p>\n\u003cp>\u003cstrong>It reminded me of the way that images and films have become such an important part of today’s fights for racial justice. The global uprising over George Floyd’s killing under Derek Chauvin’s knee was sparked by a cellphone video. The white men who chased and killed Ahmaud Arbery in Georgia—they filmed it themselves.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Both of those cases have been called modern-day lynchings caught on tape. Were those parallels on your mind at all as you made your film?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13909111']Absolutely. I mean, I was thinking a lot about Ahmaud Arbery’s murder and the way in which it was captured on video by the murderers and then how that video was later used against them. And I think, for me, I was hoping that this film could help sort of lay out this lineage and this history and give us a better understanding of what might be occurring today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>NPR has compiled a list of stories, performances and other content that chronicles the Black American experience for Black History Month. \u003c/em>\u003ca href=\"https://www.npr.org/series/1075788889/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>See the whole collection here.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Black+activists+used+lynching+souvenirs+to+expose+American+violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photos showing the lynchings of African Americans in the 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> century are some of the most troubling records of the racist history of the United States.\u003c/p>\n\u003cp>But these black-and-white photographs are what filmmaker Christine Turner chose to focus on for her new documentary, \u003cem>Lynching Postcards: ‘Token Of A Great Day’. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Turner examined hundreds of these pictures and primarily focused on the ones that people who attended these lynchings sent as postcards to family and friends.\u003c/p>\n\u003cp>As the film opens, the first postcard people see is an image of a Black man hanging from a tree, but it’s zoomed in enough that all that can be seen of him are his dangling feet. The focus then becomes the white men standing behind him, looking directly at the camera, with some smiling.\u003c/p>\n\u003cp>Turner said she did this to train the audience’s eyes to focus on the participants and see their “sense of pride.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that for me, this story is so much about the participants of the lynching, more so than of the people who had been victimized,” Turner said. “I think oftentimes we think that lynchings are these spontaneous events, right? That a group of men in the woods decide to suddenly lynch someone. But these were planned events.”\u003c/p>\n\u003cfigure id=\"attachment_13909126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png\" alt=\"Hundreds of people gather in a field, some holding umbrellas, some sitting on horses. In the far distance, a ramshackle wooden platform with a few men standing on top.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-1020x725.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191.png 1533w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For her new documentary, Lynching Postcards: Token Of A Great Day, filmmaker Christine Turner examined hundreds of black-and-white photographs that show how organized these events were and included chilling messages that shared the experience with those who weren’t there. The postcard above shows the crowd at the lynching of Henry Smith in Paris, Texas, in 1893. \u003ccite>(Photo by J.L. Mertins/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These community events weren’t just the work of the infamous Ku Klux Klan, but of ordinary people from all social classes, Turner said.\u003c/p>\n\u003cp>In an interview with \u003cem>All Things Considered, \u003c/em>Turner spoke about the how photos from these events became postcards, how the postcards then became tools in anti-lynching campaigns, and the parallels with recent killings of Black men in America.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Adrian Florido: “Token Of A Great Day”—why that title?\u003c/strong>\u003c/p>\n\u003cp>Turner: “Token Of A Great Day” actually comes from a handwritten message on the back of one of these lynching postcards. And it speaks to the attitude and the viewpoint of many of the participants at these public spectacle lynchings. You know, these postcards were mementos. They were souvenirs from these events. And so for some, they were a token of a great day.\u003c/p>\n\u003cp>\u003cstrong>Something that surprised me watching your film was to learn that at the places where an upcoming lynching had been announced, photographers would strike deals with town officials to get a prime spot at the front of the crowd. These photographs and these postcards became a whole industry.\u003c/strong>\u003c/p>\n\u003cp>Exactly. And in the film, there’s one particular lynching that we focus in on. It’s the story of Jesse Washington, who was lynched in 1916 in Waco, Texas. And his lynching took place at city hall.\u003c/p>\n\u003cp>And the town photographer—his name was Fred Gildersleeve—actually worked with the local government to find a place to photograph the lynching that would take place. And these photographs that Gildersleeve took were later turned into postcards that were sold in the community.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rWMZlQ281gM'\n title='//www.youtube.com/embed/rWMZlQ281gM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Why did these pictures get turned into postcards? Why were people clamoring for these souvenirs from these events?\u003c/strong>\u003c/p>\n\u003cp>Really, it was a way, I think, to sort of relive that experience of attending the lynching, right? And that sense of power and control, as historian Leigh Raiford talks about in the film. And it was also a way to disseminate that experience and to share that experience with friends and family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in one postcard that is featured in the film, in the message on the back, the young man is writing to his parents, and he says, “This is the barbecue that we had last night”. And I think, in a way, these messages on the back are just as chilling as the images on the front.\u003c/p>\n\u003cp>\u003cstrong>These postcards were clearly a celebration of white supremacy, right? But at some point, they did become a tool for people who decided to do something about lynching, to launch anti-lynching campaigns. How did these postcards become the tool that these activists used?\u003c/strong>\u003c/p>\n\u003cp>What anti-lynching activists such as the NAACP did is they really turned these postcards on their head, and they used them as evidence in their fight against lynching. So they laid them out there to really shame the country and the world and to make people aware of what was happening all over.\u003c/p>\n\u003cp>So in making this film, it was really important to me to make a film that wasn’t just going to be another story of victimization. But really, this is a story of Black resistance. And at its core, it’s about how these postcards were ultimately turned on their head and were subverted by these Black activists.\u003c/p>\n\u003cp>\u003cstrong>It reminded me of the way that images and films have become such an important part of today’s fights for racial justice. The global uprising over George Floyd’s killing under Derek Chauvin’s knee was sparked by a cellphone video. The white men who chased and killed Ahmaud Arbery in Georgia—they filmed it themselves.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Both of those cases have been called modern-day lynchings caught on tape. Were those parallels on your mind at all as you made your film?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Absolutely. I mean, I was thinking a lot about Ahmaud Arbery’s murder and the way in which it was captured on video by the murderers and then how that video was later used against them. And I think, for me, I was hoping that this film could help sort of lay out this lineage and this history and give us a better understanding of what might be occurring today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR has compiled a list of stories, performances and other content that chronicles the Black American experience for Black History Month. \u003c/em>\u003ca href=\"https://www.npr.org/series/1075788889/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>See the whole collection here.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Black+activists+used+lynching+souvenirs+to+expose+American+violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "These Oakland Artists Transformed their Greatest Pain into Purpose",
"headTitle": "These Oakland Artists Transformed their Greatest Pain into Purpose | KQED",
"content": "\u003cp>As an artist and educator, Karega Bailey maintained a message of peace, hope and liberation. But after he lost his brother to gun violence in 2014, his grief tested him; he felt sick with revenge and hopelessness.\u003c/p>\n\u003cp>Turning to his faith, family and writing, \u003ca href=\"https://www.solandlove.com\" target=\"_blank\" rel=\"noopener noreferrer\">Bailey\u003c/a>, who is the MC of \u003ca href=\"https://soldevelopment.bandcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">SOL Development\u003c/a>, an Oakland-based hip-hop, jazz and soul ensemble, eventually found his voice and purpose again. Crucial to that journey was connecting with \u003ca href=\"https://be-imaginative.org\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, a collective dedicated to healing Black and brown communities through storytelling. In healing circles and musical experiences, Bailey and SOL Development channeled their grief and love into tangible support for mothers whose children have been taken by gun violence.\u003c/p>\n\u003cp>Bailey’s story is at the center \u003ca href=\"https://www.whenthewatersgetdeep.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>When the Waters Get Deep\u003c/i>\u003c/a>, an award-winning short documentary that premieres on the \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts YouTube channel\u003c/a>, Thursday, Feb. 10 at 6pm PST. But the 36-minute documentary is also the story of \u003ca href=\"https://www.solaurenmusic.com\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Adams\u003c/a>, \u003ca href=\"https://www.mothermag.com/sol-affirmations-felicia-gangloff-bailey/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Gangloff-Bailey\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13896788/a-new-kind-of-mothers-day\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a>—the members of SOL Development— and members of BE-IMAGINATIVE, as they embody a new vision for how art and music can reflect a community’s pain and work to heal its traumas.\u003c/p>\n\u003cfigure id=\"attachment_13909116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg\" alt=\"Karega, sitting on floor, holds a family photo to the camera, as his parents sit on a couch behind him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karega Bailey, sitting with parents Sharon Bailey and Calbert “Sonny” Johnson, shares a photograph of his brother, Kareem Johnson. \u003ccite>(Elie M. Khadra )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I no longer could withhold the observation of living the Black experience,” says Bailey in a scene from the documentary. “We understand the helicopters. We understand police brutality. But we also understand our light within, and what our response can be to these circumstances.”\u003c/p>\n\u003cp>\u003ci>When the Waters Get Deep \u003c/i>won Best Short Documentary at the Oakland International Film Festival in 2020, and at the 2021 National Black Film Festival. The YouTube premiere will also include a new epilogue, and a live moderated chat with members of SOL Development, BE-IMAGINATIVE, and the filmmaking team.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As an artist and educator, Karega Bailey maintained a message of peace, hope and liberation. But after he lost his brother to gun violence in 2014, his grief tested him; he felt sick with revenge and hopelessness.\u003c/p>\n\u003cp>Turning to his faith, family and writing, \u003ca href=\"https://www.solandlove.com\" target=\"_blank\" rel=\"noopener noreferrer\">Bailey\u003c/a>, who is the MC of \u003ca href=\"https://soldevelopment.bandcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">SOL Development\u003c/a>, an Oakland-based hip-hop, jazz and soul ensemble, eventually found his voice and purpose again. Crucial to that journey was connecting with \u003ca href=\"https://be-imaginative.org\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, a collective dedicated to healing Black and brown communities through storytelling. In healing circles and musical experiences, Bailey and SOL Development channeled their grief and love into tangible support for mothers whose children have been taken by gun violence.\u003c/p>\n\u003cp>Bailey’s story is at the center \u003ca href=\"https://www.whenthewatersgetdeep.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>When the Waters Get Deep\u003c/i>\u003c/a>, an award-winning short documentary that premieres on the \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts YouTube channel\u003c/a>, Thursday, Feb. 10 at 6pm PST. But the 36-minute documentary is also the story of \u003ca href=\"https://www.solaurenmusic.com\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Adams\u003c/a>, \u003ca href=\"https://www.mothermag.com/sol-affirmations-felicia-gangloff-bailey/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Gangloff-Bailey\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13896788/a-new-kind-of-mothers-day\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a>—the members of SOL Development— and members of BE-IMAGINATIVE, as they embody a new vision for how art and music can reflect a community’s pain and work to heal its traumas.\u003c/p>\n\u003cfigure id=\"attachment_13909116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg\" alt=\"Karega, sitting on floor, holds a family photo to the camera, as his parents sit on a couch behind him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karega Bailey, sitting with parents Sharon Bailey and Calbert “Sonny” Johnson, shares a photograph of his brother, Kareem Johnson. \u003ccite>(Elie M. Khadra )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I no longer could withhold the observation of living the Black experience,” says Bailey in a scene from the documentary. “We understand the helicopters. We understand police brutality. But we also understand our light within, and what our response can be to these circumstances.”\u003c/p>\n\u003cp>\u003ci>When the Waters Get Deep \u003c/i>won Best Short Documentary at the Oakland International Film Festival in 2020, and at the 2021 National Black Film Festival. The YouTube premiere will also include a new epilogue, and a live moderated chat with members of SOL Development, BE-IMAGINATIVE, and the filmmaking team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area Artists in Recovery Reach for ‘The Creative High’ in IndieFest Documentary",
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"content": "\u003cp>Performing in public is daring, risky business, whether it’s a rocker behind a guitar or a drag queen in a wig and gown. Working solitarily on painting or sculpture, for all its meditative potential, presents a whole other set of psychological challenges and stumbling blocks.\u003c/p>\n\u003cp>Now add the disorienting, unfamiliar feeling of making art in an altered state, that is, \u003cem>not\u003c/em> under the years-long influence of an addictive substance. Recovering artists who stick with it can reap a considerable payoff, as illustrated by the nine Bay Area men and women who bare their struggles in the inspiring documentary \u003cem>The Creative High\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Creative High\u003c/em> is screening online in the hybrid \u003ca href=\"https://sfindiefest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF IndieFest\u003c/a> (running through Feb. 13) with an in-person screening Sunday, Feb. 6 at the Roxie Cinema featuring five of the subjects along with the filmmakers.\u003c/p>\n\u003cp>“I found a lot of my healing in my recovery through my creativity,” San Francisco director Adriana Marchione recalls. “And I was also confused about how to be an artist after I got sober and stopped drinking.”\u003c/p>\n\u003cp>That was 28 years ago. A visual artist and dancer, Marchione has specialized in working with addiction and recovery for most of her career as an expressive arts therapist and somatic movement educator. Her entreé into film, the autobiographical half-hour short \u003cem>When the Fall Comes\u003c/em> (2014), meshed poetry, dance and performance to depict the journey of grieving and healing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Realizing the potential of film to reach far more people than she can encounter through her one-on-one or group work, Marchione embarked on a feature-length documentary. Veteran San Francisco filmmaker Dianne Griffin came onboard as producer along the way, contributing some pivotal creative suggestions. \u003c/p>\n\u003cfigure id=\"attachment_13909056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200.jpg\" alt=\"Woman with white hair works on her art\" width=\"1200\" height=\"703\" class=\"size-full wp-image-13909056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-768x450.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Painter Kathy Page in her studio in a scene from ‘The Creative High.’ \u003ccite>(Courtesy filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Creative High\u003c/em> introduces us to nine talented everyday artists of various ages, including choreographer and performance artist Luis Canales (aka Strobe), hip-hop musician Brandon Michael Randle (aka Dopeless) and expressive artist and educator Lessa Clark. Rock musicians Wes Geer (founder of Rock to Recovery) and Ralph Spight (the perfect name for a punk rocker, he points out) take their turn in the spotlight, as do visual artist Kathy Page, photographer Joan Osato, theater artist and drag performer Peter Griggs (aka U-Phoria) and sculptor and musician Jason Bernhardt.\u003c/p>\n\u003cp>As distinct (and distinctive) as their sagas, personalities and artistic endeavors are, weaving nine characters into a coherent, impactful narrative is a colossal endeavor. Griffin had the inspired idea of structuring the film in three chapters, each comprised of a troika of subjects.\u003c/p>\n\u003cp>“I love the idea of ‘three,’” Griffin says. “It’s such a strong, ancient number. Past, present, future. Their stories could be heard, you really got to know the characters, and we could create a book-like feeling. We start with our early-in-recovery collaborators, moving into what we call the ‘grit’ section.”\u003c/p>\n\u003cp>“The depths of the struggle and coming back out is the second chapter,” Marchione continues. “The third chapter is the creative high, the transcendent nature of going to the height through their art practices.”\u003c/p>\n\u003cp>The subtext, which gradually emerges from the structure, is the progression through the process of recovery. The dominant themes of the film, though, are the ways in which being sober creates the opening and inspiration to create (albeit often accompanied by self-doubt) and, at the same time, artistic practice contributes to self-knowledge and staying clear of substances.\u003c/p>\n\u003cp>One of the unexpected pleasures of \u003cem>The Creative High\u003c/em> is that we come to see the nine subjects as works in progress, partly because they commonly refer to themselves as “recovering” no matter how many years they’ve been clean or sober and partly because it is the nature of artists to continually develop and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13909057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200.jpg\" alt=\"Man plays guitar and sings into mic in purple lighting\" width=\"1200\" height=\"808\" class=\"size-full wp-image-13909057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Spight on stage in a scene from ‘The Creative High.’ \u003ccite>(Courtesy filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s more shadings to my emotions,” Spight confides in the film while seen walking around the Mission. “I’m also older. You live more, and so you see more of where you can be wistfully happy or depressed and grateful”—he laughs at himself—“at the same time.”\u003c/p>\n\u003cp>Regardless of what happens down the road for the film’s nine subjects—in fact, one relapsed while the film was being made—\u003cem>The Creative High\u003c/em> should have a long life. “There has been a lot of excitement in the recovery community about the film,” Marchione reports.\u003c/p>\n\u003cp>“We’ve always had the desire,” she says, “to go into treatment centers, mental health [clinics], behavioral health facilities, art schools, universities, colleges.” Griffin’s wish list includes zen centers, museums and dance companies. The filmmakers invite representatives from these and other venues to reach out to them via the film’s \u003ca href=\"https://thecreativehigh.com/\" rel=\"noopener noreferrer\" target=\"_blank\">website\u003c/a>.\u003c/p>\n\u003cp>Of course, one needn’t be in recovery or an artist to experience the transformative power of art. \u003cem>The Creative High\u003c/em> taps into our basic, profound impulses to reveal, rage, let go, vent, invent and reinvent. That is, to create and express.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Creative High’ streams online via SF IndieFest through Feb. 13. It screens live at 7pm, Sunday, Feb. 6 at the Roxie. \u003ca href=\"https://sfindiefest2022.eventive.org/films/61cb297fc0097b007cf5ad65\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Performing in public is daring, risky business, whether it’s a rocker behind a guitar or a drag queen in a wig and gown. Working solitarily on painting or sculpture, for all its meditative potential, presents a whole other set of psychological challenges and stumbling blocks.\u003c/p>\n\u003cp>Now add the disorienting, unfamiliar feeling of making art in an altered state, that is, \u003cem>not\u003c/em> under the years-long influence of an addictive substance. Recovering artists who stick with it can reap a considerable payoff, as illustrated by the nine Bay Area men and women who bare their struggles in the inspiring documentary \u003cem>The Creative High\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Creative High\u003c/em> is screening online in the hybrid \u003ca href=\"https://sfindiefest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF IndieFest\u003c/a> (running through Feb. 13) with an in-person screening Sunday, Feb. 6 at the Roxie Cinema featuring five of the subjects along with the filmmakers.\u003c/p>\n\u003cp>“I found a lot of my healing in my recovery through my creativity,” San Francisco director Adriana Marchione recalls. “And I was also confused about how to be an artist after I got sober and stopped drinking.”\u003c/p>\n\u003cp>That was 28 years ago. A visual artist and dancer, Marchione has specialized in working with addiction and recovery for most of her career as an expressive arts therapist and somatic movement educator. Her entreé into film, the autobiographical half-hour short \u003cem>When the Fall Comes\u003c/em> (2014), meshed poetry, dance and performance to depict the journey of grieving and healing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Realizing the potential of film to reach far more people than she can encounter through her one-on-one or group work, Marchione embarked on a feature-length documentary. Veteran San Francisco filmmaker Dianne Griffin came onboard as producer along the way, contributing some pivotal creative suggestions. \u003c/p>\n\u003cfigure id=\"attachment_13909056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200.jpg\" alt=\"Woman with white hair works on her art\" width=\"1200\" height=\"703\" class=\"size-full wp-image-13909056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kathy-Page-Painter-in-the-studio_1200-768x450.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Painter Kathy Page in her studio in a scene from ‘The Creative High.’ \u003ccite>(Courtesy filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Creative High\u003c/em> introduces us to nine talented everyday artists of various ages, including choreographer and performance artist Luis Canales (aka Strobe), hip-hop musician Brandon Michael Randle (aka Dopeless) and expressive artist and educator Lessa Clark. Rock musicians Wes Geer (founder of Rock to Recovery) and Ralph Spight (the perfect name for a punk rocker, he points out) take their turn in the spotlight, as do visual artist Kathy Page, photographer Joan Osato, theater artist and drag performer Peter Griggs (aka U-Phoria) and sculptor and musician Jason Bernhardt.\u003c/p>\n\u003cp>As distinct (and distinctive) as their sagas, personalities and artistic endeavors are, weaving nine characters into a coherent, impactful narrative is a colossal endeavor. Griffin had the inspired idea of structuring the film in three chapters, each comprised of a troika of subjects.\u003c/p>\n\u003cp>“I love the idea of ‘three,’” Griffin says. “It’s such a strong, ancient number. Past, present, future. Their stories could be heard, you really got to know the characters, and we could create a book-like feeling. We start with our early-in-recovery collaborators, moving into what we call the ‘grit’ section.”\u003c/p>\n\u003cp>“The depths of the struggle and coming back out is the second chapter,” Marchione continues. “The third chapter is the creative high, the transcendent nature of going to the height through their art practices.”\u003c/p>\n\u003cp>The subtext, which gradually emerges from the structure, is the progression through the process of recovery. The dominant themes of the film, though, are the ways in which being sober creates the opening and inspiration to create (albeit often accompanied by self-doubt) and, at the same time, artistic practice contributes to self-knowledge and staying clear of substances.\u003c/p>\n\u003cp>One of the unexpected pleasures of \u003cem>The Creative High\u003c/em> is that we come to see the nine subjects as works in progress, partly because they commonly refer to themselves as “recovering” no matter how many years they’ve been clean or sober and partly because it is the nature of artists to continually develop and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13909057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200.jpg\" alt=\"Man plays guitar and sings into mic in purple lighting\" width=\"1200\" height=\"808\" class=\"size-full wp-image-13909057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Ralph-Spight-on-Stage-2_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Spight on stage in a scene from ‘The Creative High.’ \u003ccite>(Courtesy filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s more shadings to my emotions,” Spight confides in the film while seen walking around the Mission. “I’m also older. You live more, and so you see more of where you can be wistfully happy or depressed and grateful”—he laughs at himself—“at the same time.”\u003c/p>\n\u003cp>Regardless of what happens down the road for the film’s nine subjects—in fact, one relapsed while the film was being made—\u003cem>The Creative High\u003c/em> should have a long life. “There has been a lot of excitement in the recovery community about the film,” Marchione reports.\u003c/p>\n\u003cp>“We’ve always had the desire,” she says, “to go into treatment centers, mental health [clinics], behavioral health facilities, art schools, universities, colleges.” Griffin’s wish list includes zen centers, museums and dance companies. The filmmakers invite representatives from these and other venues to reach out to them via the film’s \u003ca href=\"https://thecreativehigh.com/\" rel=\"noopener noreferrer\" target=\"_blank\">website\u003c/a>.\u003c/p>\n\u003cp>Of course, one needn’t be in recovery or an artist to experience the transformative power of art. \u003cem>The Creative High\u003c/em> taps into our basic, profound impulses to reveal, rage, let go, vent, invent and reinvent. That is, to create and express.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Creative High’ streams online via SF IndieFest through Feb. 13. It screens live at 7pm, Sunday, Feb. 6 at the Roxie. \u003ca href=\"https://sfindiefest2022.eventive.org/films/61cb297fc0097b007cf5ad65\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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.",
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"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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