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"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>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>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",
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"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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"excerpt": "The documentary, airing April 24 on ‘Independent Lens,’ keeps the wrongfully convicted man — and his complicated journey — front and center.",
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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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"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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"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>\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",
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"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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"excerpt": "The promise and power of art drives Adriana Marchione and Dianne Griffin’s inspiring film.",
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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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"title": "'Cat Daddies' is All About the Ways Cats Bring Humans Together",
"headTitle": "‘Cat Daddies’ is All About the Ways Cats Bring Humans Together | KQED",
"content": "\u003cp>At the end of Cat\u003cem> Daddies,\u003c/em> you can’t help but suspect that this documentary didn’t end up being the one that director Mye Hoang and producer/editor Dave Boyle had originally set out to make.\u003c/p>\n\u003cp>The movie is billed as “a refreshing and timely exploration of modern masculinity” told through the lens of cat-loving men around America. And the film, which screens \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" target=\"_blank\" rel=\"noopener noreferrer\">Feb. 5 at the San Francisco Independent Film Festival\u003c/a>, is bookended by sharp points related to that theme. The 75-minutes or so in the middle, however? Well, that’s just seven men and a station house full of fire fighters hanging out with their kitties. It’s not a bad film. Soothing, if anything. You’re just not going to learn a great deal from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2cddvE-fekI\u003c/p>\n\u003cp>In the first and last moments of the film, some of the titular cat daddies discuss keeping their love of cats quiet while they were growing up. They describe receiving or fearing judgment from male friends for wanting to get cats at all. And some of them momentarily ponder old-fashioned notions of masculinity that are rooted in the idea of men as protectors. So, these men wonder, shouldn’t protecting cats count too?\u003c/p>\n\u003cp>I wish the movie had delved further into that. I wish it had explored how \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\" target=\"_blank\" rel=\"noopener noreferrer\">tropes about cat ladies\u003c/a>, and traditional notions of felines as inherently feminine, have made it harder for men to embrace their cat-loving selves. Instead, what we get are casual and intimate snapshots of some men who accidentally fell in love with cats and have found the will to embrace it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The men featured are: an actor, a truck driver, a software engineer, an advertising professional, a stunt performer, a middle-aged man who’s embraced social media, a homeless man dealing with serious illness, and the aforementioned fire fighters. While their professions and personalities differ, the men featured all have similar dispositions. They are all serene, gentle souls. And maybe that’s a reflection of the therapeutic good that cats can do.\u003c/p>\n\u003cp>[aside postID='arts_13891913,arts_13886425,arts_13898520']Overall, what \u003cem>Cat Daddies\u003c/em> does best is to demonstrate how a love for kitties can bring people together. Peter Mares meets his girlfriend by talking to her about Keys (a.k.a. \u003ca href=\"https://www.instagram.com/goalkitty\" target=\"_blank\" rel=\"noopener noreferrer\">Goal Kitty\u003c/a>), his social media star pet. Ryan Robertson is able to turn his friendship with a fellow stunt performer into a romance because she wants to meet his Maine Coon. Will Zweigart brings together communities in Brooklyn by teaching them how to trap, neuter and release feral colonies. Actor Nathan Kehn co-founded \u003ca href=\"https://tabbydates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dating app for cat lovers\u003c/a> after some women found his four cats to be too many. David Durst meets up with people on his truck journeys across the country because they want to meet his cat \u003ca href=\"https://toratravels.weebly.com/#:~:text=Tora%20is%20a%20year%20old,100%2C000%20miles%20under%20her%20collar.\" target=\"_blank\" rel=\"noopener noreferrer\">Tora—another social media star\u003c/a>.\u003c/p>\n\u003cp>Most touching of all, though, is the story of David Giovanni, a man living with cancer and cerebral palsy on the streets of New York, who nurses an abandoned kitten back to health. That cat, Lucky, lives up to his name, helping David form bonds with two cat-loving new friends who help David into housing, and take care of Lucky when David is in the hospital.\u003c/p>\n\u003cp>It probably would have made more sense, then, to call \u003cem>Cat Daddies\u003c/em> “Cat Communities.” Because what this movie is really about, at its core, is the bond that forms between humans who share a love of pussycats. Now they have a sweet movie to bond over as well.\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>‘Cat Daddies’ is playing as part of SF IndieFest at the Roxie on Saturday, Feb. 5, at 2:30pm. \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" 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>At the end of Cat\u003cem> Daddies,\u003c/em> you can’t help but suspect that this documentary didn’t end up being the one that director Mye Hoang and producer/editor Dave Boyle had originally set out to make.\u003c/p>\n\u003cp>The movie is billed as “a refreshing and timely exploration of modern masculinity” told through the lens of cat-loving men around America. And the film, which screens \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" target=\"_blank\" rel=\"noopener noreferrer\">Feb. 5 at the San Francisco Independent Film Festival\u003c/a>, is bookended by sharp points related to that theme. The 75-minutes or so in the middle, however? Well, that’s just seven men and a station house full of fire fighters hanging out with their kitties. It’s not a bad film. Soothing, if anything. You’re just not going to learn a great deal from 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/2cddvE-fekI'\n title='//www.youtube.com/embed/2cddvE-fekI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the first and last moments of the film, some of the titular cat daddies discuss keeping their love of cats quiet while they were growing up. They describe receiving or fearing judgment from male friends for wanting to get cats at all. And some of them momentarily ponder old-fashioned notions of masculinity that are rooted in the idea of men as protectors. So, these men wonder, shouldn’t protecting cats count too?\u003c/p>\n\u003cp>I wish the movie had delved further into that. I wish it had explored how \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\" target=\"_blank\" rel=\"noopener noreferrer\">tropes about cat ladies\u003c/a>, and traditional notions of felines as inherently feminine, have made it harder for men to embrace their cat-loving selves. Instead, what we get are casual and intimate snapshots of some men who accidentally fell in love with cats and have found the will to embrace it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The men featured are: an actor, a truck driver, a software engineer, an advertising professional, a stunt performer, a middle-aged man who’s embraced social media, a homeless man dealing with serious illness, and the aforementioned fire fighters. While their professions and personalities differ, the men featured all have similar dispositions. They are all serene, gentle souls. And maybe that’s a reflection of the therapeutic good that cats can do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Overall, what \u003cem>Cat Daddies\u003c/em> does best is to demonstrate how a love for kitties can bring people together. Peter Mares meets his girlfriend by talking to her about Keys (a.k.a. \u003ca href=\"https://www.instagram.com/goalkitty\" target=\"_blank\" rel=\"noopener noreferrer\">Goal Kitty\u003c/a>), his social media star pet. Ryan Robertson is able to turn his friendship with a fellow stunt performer into a romance because she wants to meet his Maine Coon. Will Zweigart brings together communities in Brooklyn by teaching them how to trap, neuter and release feral colonies. Actor Nathan Kehn co-founded \u003ca href=\"https://tabbydates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dating app for cat lovers\u003c/a> after some women found his four cats to be too many. David Durst meets up with people on his truck journeys across the country because they want to meet his cat \u003ca href=\"https://toratravels.weebly.com/#:~:text=Tora%20is%20a%20year%20old,100%2C000%20miles%20under%20her%20collar.\" target=\"_blank\" rel=\"noopener noreferrer\">Tora—another social media star\u003c/a>.\u003c/p>\n\u003cp>Most touching of all, though, is the story of David Giovanni, a man living with cancer and cerebral palsy on the streets of New York, who nurses an abandoned kitten back to health. That cat, Lucky, lives up to his name, helping David form bonds with two cat-loving new friends who help David into housing, and take care of Lucky when David is in the hospital.\u003c/p>\n\u003cp>It probably would have made more sense, then, to call \u003cem>Cat Daddies\u003c/em> “Cat Communities.” Because what this movie is really about, at its core, is the bond that forms between humans who share a love of pussycats. Now they have a sweet movie to bond over as well.\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>‘Cat Daddies’ is playing as part of SF IndieFest at the Roxie on Saturday, Feb. 5, at 2:30pm. \u003ca href=\"https://sfindiefest2022.eventive.org/schedule/61cb4c9b0e445100377ff8da\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lifetime and A&E's Janet Jackson Docuseries Promises More Than it Delivers",
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"content": "\u003cp>The promise of A&E and Lifetime’s four-part docuseries on pop icon Janet Jackson, titled simply, \u003cem>Janet Jackson.—\u003c/em>with a period—is obvious.\u003c/p>\n\u003cp>Executive produced by Miss Jackson and her brother Randy—with never before seen home movie footage and interviews with big stars like Tyler Perry, Samuel L. Jackson and Missy Elliot—the project offers a close-up look at a famously private music legend told from her perspective.\u003c/p>\n\u003cp>[aside postid='arts_13906331']But, after watching two of the four hours A&E and Lifetime will air over two days, I thought this artist—who has spent her entire career protecting her public image and private moments—wasn’t really prepared to allow a fully incisive documentary about her own life.\u003c/p>\n\u003cp>It feels as if there is a tension inside \u003cem>Janet Jackson.\u003c/em>; the docuseries often provides interesting revelations, only to scurry away from big moments for the next story point—as if unwilling to dig too deep into painful memories or controversial times.\u003c/p>\n\u003ch3>The tension between disclosure and privacy\u003c/h3>\n\u003cp>For example, in the first episode, Janet Jackson speaks emotionally about her first marriage to singer James DeBarge. The two eloped and got married in secret when she was just 18 years old, and she discovered DeBarge had a raging drug habit which he couldn’t shake; their marriage was annulled about a year later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, as heartbreaking as that story is—she says DeBarge left her alone in a hotel room in Grand Rapids, Mich. for three hours on their wedding night—it feels like there is much more left unsaid. Her father Joe Jackson was famously controlling; his rigid ways helped mold The Jacksons into a hit group for Motown and guided her early performing career. How did he and the rest of the family react to her surprise marriage—especially when it became obvious how much DeBarge was struggling with substance abuse issues?\u003c/p>\n\u003cp>Her union with DeBarge wouldn’t be the only time Janet Jackson surprised her family with nuptials. Her sister, Rebbie Jackson, said she was also “blindsided” when Janet married second husband Rene Elizondo, Jr. in 1991. But there’s not much explanation here for why Janet has been so secretive about those events, beyond Rebbie’s observation that her sister is intensely private.\u003c/p>\n\u003cp>[aside postid='arts_13894392']The docuseries isn’t above a little empty hype, either. The first episode closes with ominous clips suggesting Janet will \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10445801/Janet-Jackson-denies-carrying-secret-child-ex-husband-James-DeBarge.html\" target=\"_blank\" rel=\"noopener noreferrer\">speak on the longstanding rumors\u003c/a> that she had a secret daughter while married to DeBarge that she either gave to Rebbie or put up for adoption. Early in the second episode, Janet and Rebbie imply it’s not true—a denial the family has maintained for years.\u003c/p>\n\u003cp>“I could never keep a child away from James,” Janet Jackson tells the camera at one point, without directly saying the child does not exist. “How could I keep a child from their father? I could never do that, that’s not right.”\u003c/p>\n\u003cp>But the docuseries doesn’t note that one reason the rumors persisted is because members of DeBarge’s family \u003ca href=\"https://www.insideedition.com/22247-janet-jacksons-ex-sister-in-law-apologizes-over-singers-secret-daughter-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">have told press outlets\u003c/a> they thought Janet was pregnant when the marriage ended. James DeBarge said on a reality TV show in 2016 that \u003ca href=\"https://www.etonline.com/news/202631_janet_jackson_ex_husband_james_debarge_claims_the_two_have_a_secret_daughter_together\" target=\"_blank\" rel=\"noopener noreferrer\">he believed the child existed\u003c/a>.\u003c/p>\n\u003cp>Still, even though DeBarge appears in \u003cem>Janet Jackson.—\u003c/em>and the docuseries shows images of newspaper clippings about his statements on the child—he isn’t shown answering any questions about that issue on camera. And Janet Jackson never mentions him or his family as a possible source of the rumors.\u003c/p>\n\u003cp>It is odd, given how much attention those allegations got just a few years ago, that the docuseries doesn’t fully explore this—if only to refute or explain what they show DeBarge has said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yPHFcDHJYTU\u003c/p>\n\u003ch3>Telling moments in home movie footage\u003c/h3>\n\u003cp>There are some telling moments revealed in the first two episodes, in part, because Jackson’s second husband Elizondo documented much of their life with his own cameras. We see her writing lyrics for songs while recording the album \u003cem>Rhythm Nation 1814\u003c/em>, pushing back on criticisms that her artistic identity is solely a creation of producers Jimmy Jam and Terry Lewis.\u003c/p>\n\u003cp>Another scene, where Jimmy Jam gets into an argument with her while recording vocals for \u003cem>Rhythm Nation—\u003c/em>he is pushing her to deliver more energy in her performance—perfectly encapsulates how fatigue and pressure can bring emotional combustion in recording.\u003c/p>\n\u003cp>[aside postID='pop_20175,arts_13892744,pop_108623']The docuseries also often references her desire to escape the shadow of her superstar brother, her willful father and her famous last name. “It has opened a great deal of doors for me… having that name,” she says at one point. “[But] I wanted my own identity.”\u003c/p>\n\u003cp>As a native of Gary, Indiana, I loved how the docuseries began with Janet and Randy visiting the tiny, two-bedroom home there that she, her parents and her eight siblings lived in during the 1960s. (It was, in fact, just a few blocks north of my grandmother’s house.) But it was also odd to see her experience Gary mostly from behind the window of an automobile, surveying a crumbling, economically depressed area that is now a shadow of the bustling city it was when she lived there.\u003c/p>\n\u003cp>The third episode promises to deliver her perspective on the child molestation accusations made against her brother, now-deceased pop icon Michael Jackson.\u003c/p>\n\u003cp>And there will be lots of interest in hearing her side of the infamous 2004 Super Bowl “wardrobe malfunction,” where her breast was exposed briefly at the end of her halftime performance by guest Justin Timberlake. Fans have long held she was unfairly damaged by the incident—paying a heavier price than Timberlake, perhaps due to the ire of then-CBS CEO Les Moonves.\u003c/p>\n\u003cp>A docuseries like this one would be a good venue to find out exactly what happened from her perspective. What was planned for the halftime show, did it go wrong, did she feel Moonves was gunning for her afterward and did she feel abandoned by Timberlake?\u003c/p>\n\u003cp>I wasn’t able to see the final episode, so I don’t know if those questions were answered or how. But given what I have seen of \u003cem>Janet Jackson.\u003c/em>, I’m not confident we’ll get the kind of in-depth examination that usually makes for a great docuseries.\u003c/p>\n\u003cp>Like the moment when Jimmy Jam presses Janet to deliver a better performance in the studio, this documentary needed an outside voice strong enough to push her to go deeper—revealing more than we can read in a Wikipedia entry or see in gossip columns.\u003c/p>\n\u003cp>Over the years, you get the sense that the Jackson family has devoted a lot of energy to downplaying, avoiding and publicly ignoring the dramas which have swirled around them for decades. It’s a defense mechanism which makes sense on a human level, especially given how much attention, commentary and coverage the superstar family has drawn since the 1970s.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that reflex doesn’t serve \u003cem>Janet Jackson.\u003c/em>, leading to a docuseries that pulls back the curtain a bit, but falls short of fully revealing the inner life of a groundbreaking pop star with so many compelling stories left to tell.\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=Lifetime+and+A%26E%27s+Janet+Jackson+docuseries+promises+more+than+it+delivers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The docuseries isn’t above a little empty hype, either. The first episode closes with ominous clips suggesting Janet will \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10445801/Janet-Jackson-denies-carrying-secret-child-ex-husband-James-DeBarge.html\" target=\"_blank\" rel=\"noopener noreferrer\">speak on the longstanding rumors\u003c/a> that she had a secret daughter while married to DeBarge that she either gave to Rebbie or put up for adoption. Early in the second episode, Janet and Rebbie imply it’s not true—a denial the family has maintained for years.\u003c/p>\n\u003cp>“I could never keep a child away from James,” Janet Jackson tells the camera at one point, without directly saying the child does not exist. “How could I keep a child from their father? I could never do that, that’s not right.”\u003c/p>\n\u003cp>But the docuseries doesn’t note that one reason the rumors persisted is because members of DeBarge’s family \u003ca href=\"https://www.insideedition.com/22247-janet-jacksons-ex-sister-in-law-apologizes-over-singers-secret-daughter-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">have told press outlets\u003c/a> they thought Janet was pregnant when the marriage ended. James DeBarge said on a reality TV show in 2016 that \u003ca href=\"https://www.etonline.com/news/202631_janet_jackson_ex_husband_james_debarge_claims_the_two_have_a_secret_daughter_together\" target=\"_blank\" rel=\"noopener noreferrer\">he believed the child existed\u003c/a>.\u003c/p>\n\u003cp>Still, even though DeBarge appears in \u003cem>Janet Jackson.—\u003c/em>and the docuseries shows images of newspaper clippings about his statements on the child—he isn’t shown answering any questions about that issue on camera. And Janet Jackson never mentions him or his family as a possible source of the rumors.\u003c/p>\n\u003cp>It is odd, given how much attention those allegations got just a few years ago, that the docuseries doesn’t fully explore this—if only to refute or explain what they show DeBarge has said.\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/yPHFcDHJYTU'\n title='//www.youtube.com/embed/yPHFcDHJYTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Telling moments in home movie footage\u003c/h3>\n\u003cp>There are some telling moments revealed in the first two episodes, in part, because Jackson’s second husband Elizondo documented much of their life with his own cameras. We see her writing lyrics for songs while recording the album \u003cem>Rhythm Nation 1814\u003c/em>, pushing back on criticisms that her artistic identity is solely a creation of producers Jimmy Jam and Terry Lewis.\u003c/p>\n\u003cp>Another scene, where Jimmy Jam gets into an argument with her while recording vocals for \u003cem>Rhythm Nation—\u003c/em>he is pushing her to deliver more energy in her performance—perfectly encapsulates how fatigue and pressure can bring emotional combustion in recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The docuseries also often references her desire to escape the shadow of her superstar brother, her willful father and her famous last name. “It has opened a great deal of doors for me… having that name,” she says at one point. “[But] I wanted my own identity.”\u003c/p>\n\u003cp>As a native of Gary, Indiana, I loved how the docuseries began with Janet and Randy visiting the tiny, two-bedroom home there that she, her parents and her eight siblings lived in during the 1960s. (It was, in fact, just a few blocks north of my grandmother’s house.) But it was also odd to see her experience Gary mostly from behind the window of an automobile, surveying a crumbling, economically depressed area that is now a shadow of the bustling city it was when she lived there.\u003c/p>\n\u003cp>The third episode promises to deliver her perspective on the child molestation accusations made against her brother, now-deceased pop icon Michael Jackson.\u003c/p>\n\u003cp>And there will be lots of interest in hearing her side of the infamous 2004 Super Bowl “wardrobe malfunction,” where her breast was exposed briefly at the end of her halftime performance by guest Justin Timberlake. Fans have long held she was unfairly damaged by the incident—paying a heavier price than Timberlake, perhaps due to the ire of then-CBS CEO Les Moonves.\u003c/p>\n\u003cp>A docuseries like this one would be a good venue to find out exactly what happened from her perspective. What was planned for the halftime show, did it go wrong, did she feel Moonves was gunning for her afterward and did she feel abandoned by Timberlake?\u003c/p>\n\u003cp>I wasn’t able to see the final episode, so I don’t know if those questions were answered or how. But given what I have seen of \u003cem>Janet Jackson.\u003c/em>, I’m not confident we’ll get the kind of in-depth examination that usually makes for a great docuseries.\u003c/p>\n\u003cp>Like the moment when Jimmy Jam presses Janet to deliver a better performance in the studio, this documentary needed an outside voice strong enough to push her to go deeper—revealing more than we can read in a Wikipedia entry or see in gossip columns.\u003c/p>\n\u003cp>Over the years, you get the sense that the Jackson family has devoted a lot of energy to downplaying, avoiding and publicly ignoring the dramas which have swirled around them for decades. It’s a defense mechanism which makes sense on a human level, especially given how much attention, commentary and coverage the superstar family has drawn since the 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that reflex doesn’t serve \u003cem>Janet Jackson.\u003c/em>, leading to a docuseries that pulls back the curtain a bit, but falls short of fully revealing the inner life of a groundbreaking pop star with so many compelling stories left to tell.\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=Lifetime+and+A%26E%27s+Janet+Jackson+docuseries+promises+more+than+it+delivers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Poly Styrene Documentary ‘I Am a Cliché’ is Much More Than a Punk Profile",
"headTitle": "Poly Styrene Documentary ‘I Am a Cliché’ is Much More Than a Punk Profile | KQED",
"content": "\u003cp>Ostensibly, \u003cem>I Am a Cliché\u003c/em> is a profile of British punk icon Poly Styrene, who founded and fronted X-Ray Spex between 1976 and ’79. But this 95-minute documentary, directed by Poly’s daughter \u003ca href=\"https://www.instagram.com/celestabella/\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Bell-Dos Santos\u003c/a> and filmmaker \u003ca href=\"https://www.imdb.com/name/nm7098521/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Sng\u003c/a>, proves to be much, much more than that.\u003c/p>\n\u003cp>[aside postid='arts_13902953']\u003cem>Cliché\u003c/em> unpacks a lot. It’s about art on the margins. It’s about the race and gender barriers that have historically policed popular culture. It’s about mental illness, the stigma it carries, and society’s reluctance to deal with it. It’s about dysfunctional families and finding love. And, most surprisingly of all—because of Poly Styrene’s lifelong fear of a culture built on plastic and artifice—it’s about now.\u003c/p>\n\u003cp>That sounds like a lot. Maybe too much. But nothing about \u003cem>I Am a Cliché\u003c/em> feels in the least bit labored. It moves with ease and grace thanks in large part to the forthright narration and emotional grounding provided by Celeste. Styrene’s daughter—who spent portions of her childhood terrified of her own mother—is determined not just to tell her mother’s story, but also to grant the singer a new degree of understanding.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=stXSFuUOdeU\u003c/p>\n\u003cp>Poly Styrene’s story starts out simply enough: mixed-race girl grows up in working-class neighborhood of South London during a turbulent time in Britain. She discovers punk, takes the initiative to form a band, smashes expectations and breaks boundaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The impact of Poly—staunchly unconventional, even in a sea of snarling punks—is worth pausing on to appreciate. Rhoda Dakar of \u003ca href=\"https://en.wikipedia.org/wiki/The_Bodysnatchers_(band)\" target=\"_blank\" rel=\"noopener noreferrer\">The Bodysnatchers\u003c/a> explains that, in some ways, she and Poly were readily accepted into a punk scene dominated by white men, precisely for the ways that they didn’t fit into it.\u003c/p>\n\u003cp>“Back then,” Dakar explains, “it was fairly unusual to be biracial. In a way, we were embraced by punk because it was full of people that nobody else wanted. We were welcomed because we were already outsiders.”\u003c/p>\n\u003cp>It is Dakar and Poly’s other female peers in \u003cem>Cliché\u003c/em>, who best express the quagmire of being a woman in punk in 1970s Britain. Gina Birch from \u003ca href=\"http://www.theraincoats.net/\" target=\"_blank\" rel=\"noopener noreferrer\">The Raincoats\u003c/a> says: “A lot of men in the media didn’t want women to step into that place. To be given more power and more say and more visibility.”\u003c/p>\n\u003cp>Writer \u003ca href=\"https://www.viviengoldman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vivien Goldman\u003c/a> notes: “Everyone always talks about ‘\u003ca href=\"https://www.youtube.com/watch?v=ogypBUCb7DA\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Bondage Up Yours\u003c/a>’ because, in a way, that sound cut through a sort of glass ceiling of what women singers could do with their voice.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RUBXwxjoAus\u003c/p>\n\u003cp>Beyond her fearless on-stage persona, Poly was sensitive, empathic and deeply philosophical. She worried about humanity’s future; she worried about a life lived without substance. And unrelenting, sexist scrutiny of her body and image in the music press made her worry she wasn’t good enough.\u003c/p>\n\u003cp>[aside postid='arts_13852873']“She felt like journalists were celebrating her by insinuating that she was unattractive and overweight,” Celeste remembers. “[They were] totally not getting what she was trying to achieve by choosing not to overexpose her voluptuous form on stage.”\u003c/p>\n\u003cp>Poly’s situation was further destabilized by the fact that she was bipolar but initially misdiagnosed as schizophrenic. All of those elements together made the chaos and propulsion of touring particularly difficult for her. This became very apparent in 1977 when X-Ray Spex spent time in New York and played the legendary punk venue CBGB. (Sonic Youth’s Thurston Moore was in attendance and the memories he shares of the show in \u003cem>Cliché\u003c/em> are pure gold.)\u003c/p>\n\u003cfigure id=\"attachment_13907828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Poly-mirror-800x538.png\" alt=\"The singer for X-Ray Spex, wearing a red and yellow band jacket, gazes into a mirror and applies make-up to her cheeks.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1536x1034.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-2048x1379.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1920x1292.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poly Styrene getting ready to perform, sometime in the late 1970s. \u003ccite>('I Am a Cliché')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the rest of her band simply found New York fascinating and fun, Poly was so overwhelmed by the rampant consumerism, seedy underbelly and drug culture of the city that she never quite recovered from the trip. Celeste says New York annihilated the last shreds of “whatever innocence [Poly Styrene] had left.”\u003c/p>\n\u003cp>And Poly’s own writings prove it. After returning to London, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>New York totally blew me apart. I saw everything I’d been writing about, but extreme and for real. For them it wasn’t a joke, it was the way they lived. For me, it was all a joke … It’s so bad that you think ‘God, if that’s what it’s gonna be like, I don’t want it.’ The weird thing about all the plastic is that people don’t actually like it. But in order to cope with it, they develop a perverse kind of fondness for it. Which is what I did … That was what was so frightening about New York.\u003c/p>\u003c/blockquote>\n\u003cp>Viewed from 2022, Poly’s fears about the future—and in particular a culture dominated by plastic (in all senses of the word)—seem positively prophetic. That they were shrugged off by most people in her own time can’t help but feel tragic.\u003c/p>\n\u003cp>By 1979, Poly’s inner struggles led her to break up the band at the peak of its powers. “Poly Styrene had to die,” Celeste explains, “so that Marianne Elliott [Styrene’s real name] could survive.”\u003c/p>\n\u003cp>For a time after X-Ray Spex, Celeste and her mother lived in a Hare Krishna community. Later, the two lived alone and Poly lapsed into a severe state of depression. Celeste describes being hungry and neglected to the degree that, at the age of eight, she climbed out of a window to get to the social service employees who had come to check on her. Celeste later declared in court that she would rather live with her grandmother—a choice that caused long-term rifts in the family.\u003c/p>\n\u003cp>[aside postid='arts_13894169']Almost a decade before Poly’s death from cancer in 2011, mother and daughter reunited and became close. But much remained a mystery about Poly when Celeste suddenly lost her. “By the time I started to really appreciate how lucky I was to have such a remarkable woman as a mother and a role model,” Celeste says, “it was too late. She was leaving her body.”\u003c/p>\n\u003cp>If it sounds like I’ve told you the whole story laid bare in \u003cem>I Am a Cliché\u003c/em>, fear not—I’ve barely scratched the surface. I haven’t yet mentioned that it’s also a brilliant snapshot of British punk in its late-’70s heyday. Or that it’s about the importance of community, empathy and tolerance. Or that, at its core, it’s a beautiful meditation on what parents and children owe to one other. More than that, it’s about the tiny earthquakes that rumble around the world and forever change it when marginalized people elbow their way into closed-off spaces, and force other people to listen to them.\u003c/p>\n\u003cp>Poly Styrene was one of those people. Her legacy is bigger than you might think.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘I Am a Cliché’ arrives in movie theaters across the U.S. on Wednesday, Feb. 2, 2022. It will be available on demand starting Feb. 4, and begins streaming on Showtime in June. \u003ca href=\"https://www.polystyrenefilm.net/release\" 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>Ostensibly, \u003cem>I Am a Cliché\u003c/em> is a profile of British punk icon Poly Styrene, who founded and fronted X-Ray Spex between 1976 and ’79. But this 95-minute documentary, directed by Poly’s daughter \u003ca href=\"https://www.instagram.com/celestabella/\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Bell-Dos Santos\u003c/a> and filmmaker \u003ca href=\"https://www.imdb.com/name/nm7098521/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Sng\u003c/a>, proves to be much, much more than that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cliché\u003c/em> unpacks a lot. It’s about art on the margins. It’s about the race and gender barriers that have historically policed popular culture. It’s about mental illness, the stigma it carries, and society’s reluctance to deal with it. It’s about dysfunctional families and finding love. And, most surprisingly of all—because of Poly Styrene’s lifelong fear of a culture built on plastic and artifice—it’s about now.\u003c/p>\n\u003cp>That sounds like a lot. Maybe too much. But nothing about \u003cem>I Am a Cliché\u003c/em> feels in the least bit labored. It moves with ease and grace thanks in large part to the forthright narration and emotional grounding provided by Celeste. Styrene’s daughter—who spent portions of her childhood terrified of her own mother—is determined not just to tell her mother’s story, but also to grant the singer a new degree of understanding.\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/stXSFuUOdeU'\n title='//www.youtube.com/embed/stXSFuUOdeU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Poly Styrene’s story starts out simply enough: mixed-race girl grows up in working-class neighborhood of South London during a turbulent time in Britain. She discovers punk, takes the initiative to form a band, smashes expectations and breaks boundaries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The impact of Poly—staunchly unconventional, even in a sea of snarling punks—is worth pausing on to appreciate. Rhoda Dakar of \u003ca href=\"https://en.wikipedia.org/wiki/The_Bodysnatchers_(band)\" target=\"_blank\" rel=\"noopener noreferrer\">The Bodysnatchers\u003c/a> explains that, in some ways, she and Poly were readily accepted into a punk scene dominated by white men, precisely for the ways that they didn’t fit into it.\u003c/p>\n\u003cp>“Back then,” Dakar explains, “it was fairly unusual to be biracial. In a way, we were embraced by punk because it was full of people that nobody else wanted. We were welcomed because we were already outsiders.”\u003c/p>\n\u003cp>It is Dakar and Poly’s other female peers in \u003cem>Cliché\u003c/em>, who best express the quagmire of being a woman in punk in 1970s Britain. Gina Birch from \u003ca href=\"http://www.theraincoats.net/\" target=\"_blank\" rel=\"noopener noreferrer\">The Raincoats\u003c/a> says: “A lot of men in the media didn’t want women to step into that place. To be given more power and more say and more visibility.”\u003c/p>\n\u003cp>Writer \u003ca href=\"https://www.viviengoldman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vivien Goldman\u003c/a> notes: “Everyone always talks about ‘\u003ca href=\"https://www.youtube.com/watch?v=ogypBUCb7DA\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Bondage Up Yours\u003c/a>’ because, in a way, that sound cut through a sort of glass ceiling of what women singers could do with their voice.”\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/RUBXwxjoAus'\n title='//www.youtube.com/embed/RUBXwxjoAus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beyond her fearless on-stage persona, Poly was sensitive, empathic and deeply philosophical. She worried about humanity’s future; she worried about a life lived without substance. And unrelenting, sexist scrutiny of her body and image in the music press made her worry she wasn’t good enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She felt like journalists were celebrating her by insinuating that she was unattractive and overweight,” Celeste remembers. “[They were] totally not getting what she was trying to achieve by choosing not to overexpose her voluptuous form on stage.”\u003c/p>\n\u003cp>Poly’s situation was further destabilized by the fact that she was bipolar but initially misdiagnosed as schizophrenic. All of those elements together made the chaos and propulsion of touring particularly difficult for her. This became very apparent in 1977 when X-Ray Spex spent time in New York and played the legendary punk venue CBGB. (Sonic Youth’s Thurston Moore was in attendance and the memories he shares of the show in \u003cem>Cliché\u003c/em> are pure gold.)\u003c/p>\n\u003cfigure id=\"attachment_13907828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Poly-mirror-800x538.png\" alt=\"The singer for X-Ray Spex, wearing a red and yellow band jacket, gazes into a mirror and applies make-up to her cheeks.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1536x1034.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-2048x1379.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1920x1292.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poly Styrene getting ready to perform, sometime in the late 1970s. \u003ccite>('I Am a Cliché')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the rest of her band simply found New York fascinating and fun, Poly was so overwhelmed by the rampant consumerism, seedy underbelly and drug culture of the city that she never quite recovered from the trip. Celeste says New York annihilated the last shreds of “whatever innocence [Poly Styrene] had left.”\u003c/p>\n\u003cp>And Poly’s own writings prove it. After returning to London, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>New York totally blew me apart. I saw everything I’d been writing about, but extreme and for real. For them it wasn’t a joke, it was the way they lived. For me, it was all a joke … It’s so bad that you think ‘God, if that’s what it’s gonna be like, I don’t want it.’ The weird thing about all the plastic is that people don’t actually like it. But in order to cope with it, they develop a perverse kind of fondness for it. Which is what I did … That was what was so frightening about New York.\u003c/p>\u003c/blockquote>\n\u003cp>Viewed from 2022, Poly’s fears about the future—and in particular a culture dominated by plastic (in all senses of the word)—seem positively prophetic. That they were shrugged off by most people in her own time can’t help but feel tragic.\u003c/p>\n\u003cp>By 1979, Poly’s inner struggles led her to break up the band at the peak of its powers. “Poly Styrene had to die,” Celeste explains, “so that Marianne Elliott [Styrene’s real name] could survive.”\u003c/p>\n\u003cp>For a time after X-Ray Spex, Celeste and her mother lived in a Hare Krishna community. Later, the two lived alone and Poly lapsed into a severe state of depression. Celeste describes being hungry and neglected to the degree that, at the age of eight, she climbed out of a window to get to the social service employees who had come to check on her. Celeste later declared in court that she would rather live with her grandmother—a choice that caused long-term rifts in the family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Almost a decade before Poly’s death from cancer in 2011, mother and daughter reunited and became close. But much remained a mystery about Poly when Celeste suddenly lost her. “By the time I started to really appreciate how lucky I was to have such a remarkable woman as a mother and a role model,” Celeste says, “it was too late. She was leaving her body.”\u003c/p>\n\u003cp>If it sounds like I’ve told you the whole story laid bare in \u003cem>I Am a Cliché\u003c/em>, fear not—I’ve barely scratched the surface. I haven’t yet mentioned that it’s also a brilliant snapshot of British punk in its late-’70s heyday. Or that it’s about the importance of community, empathy and tolerance. Or that, at its core, it’s a beautiful meditation on what parents and children owe to one other. More than that, it’s about the tiny earthquakes that rumble around the world and forever change it when marginalized people elbow their way into closed-off spaces, and force other people to listen to them.\u003c/p>\n\u003cp>Poly Styrene was one of those people. Her legacy is bigger than you might think.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Am a Cliché’ arrives in movie theaters across the U.S. on Wednesday, Feb. 2, 2022. It will be available on demand starting Feb. 4, and begins streaming on Showtime in June. \u003ca href=\"https://www.polystyrenefilm.net/release\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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