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"content": "\u003cp>Road movies are an iconic American genre, powered by the rush of freedom, independence and possibility. Reid Davenport might laugh at being compared to L.A. mavericks Dennis Hooper or Monte Hellman—he’d prefer the late, great Bay Area documentary filmmaker Marlon Riggs—but his breakthrough feature doc, \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae072fb52cb56ea40fcad0\" rel=\"noopener noreferrer\" target=\"_blank\">I Didn’t See You There\u003c/a>\u003c/em>, fiercely follows in a grand tradition.\u003c/p>\n\u003cp>Davenport’s wheels aren’t affixed to a Harley or a GTO but to a chair. As is his camera, most of the time, giving viewers an unexpectedly beautiful view of the abstract grain and pattern of BART stations, sidewalks and streets—as well as the perspective of a person with a disability navigating his way around the Bay Area.[aside postID='arts_13905452']\u003c/p>\n\u003cp>The filmmaker informs us at the outset of \u003cem>I Didn’t See You There\u003c/em> that he doesn’t plan to appear onscreen. It’s an act of withholding that creates dramatic suspense (we yearn to see what we can’t) but Davenport had an altogether different goal in mind.\u003c/p>\n\u003cp>“It wasn’t so much a cinematic consideration as a statement that I constantly see in documentary films and in the media: disabled people are seen but not heard,” he explains in a Zoom interview from his Brooklyn apartment, where he recently moved after five years in Oakland. “I wanted to completely lift that on its head, and try to invite people into an approximation of my experience.”\u003c/p>\n\u003cp>Davenport’s appearance in his short films, made during and after his MFA studies in Stanford’s vaunted documentary filmmaking program, was cathartic. He also appears (eventually) in the short \u003ca href=\"https://www.sundance.org/blogs/meet-the-artist-reid-davenport-on-i-didnt-see-you-there-presented-by-dropbox/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Artist\u003c/a> video he recorded for the Sundance Film Festival world premiere of \u003cem>I Didn’t See You There\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With all its smooth outdoor tracking shots, the film portrays someone whose daily life requires actively pushing out into the world. Davenport wants us to experience this the way a person with a disability does, of course, but many have had the realization that the world doesn’t come to us, and we have to initiate connections.\u003c/p>\n\u003cp>“I’m very interested in the question of what seems to be unique to me versus what seems to be universal, and that’s what made me make the film,” Davenport says.\u003c/p>\n\u003cfigure id=\"attachment_13908410\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg\" alt=\"Reflection of circus tent and person in wheelchair in window\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13908410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘I Didn’t See You There.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>I Didn’t See You There\u003c/em> debuts Monday, Jan. 24 in the U.S. documentary category in the entirely \u003ca href=\"https://festival.sundance.org/\" rel=\"noopener noreferrer\" target=\"_blank\">online festival\u003c/a>, which begins today. Other Sundance docs by Bay Area filmmakers include Sara Dosa’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae06f6b52cb50e5a0fc998\" rel=\"noopener noreferrer\" target=\"_blank\">Fire of Love\u003c/a>\u003c/em>, about a French couple who studied volcanoes, and Meg Smaker’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae07956c1de50b88c80c58\" rel=\"noopener noreferrer\" target=\"_blank\">Jihad Rehab\u003c/a>\u003c/em>, which follows four former Al Qaeda members assimilating into Saudi society. \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae0705b52cb5bd170fca03\" rel=\"noopener noreferrer\" target=\"_blank\">Free Chol Soo Lee\u003c/a>\u003c/em>, by L.A. filmmakers Julie Ha and Eugene Yi, revisits the saga of a Korean immigrant wrongfully convicted of a 1973 murder in San Francisco’s Chinatown.\u003c/p>\n\u003cp>[aside postID='arts_13877373']2020’s Sundance edition featured local filmmakers Nicole Newnham and Jim Lebrecht’s \u003cem>\u003ca href=\"https://www.netflix.com/title/81001496\" rel=\"noopener noreferrer\" target=\"_blank\">Crip Camp: A Disability Revolution\u003c/a>\u003c/em> (on Netflix, and highly recommended), which integrated personal experience with a landmark 1970s civil rights campaign. In contrast, \u003cem>I Didn’t See You There\u003c/em> is primarily experiential and occasionally experimental, largely eschewing information and history in favor of confronting mainstream assumptions and attitudes in both explicit and implicit ways.\u003c/p>\n\u003cp>“I hope it implicates the viewer,” Davenport declares, though he needn’t worry. Take the seemingly prosaic scene where he does a 360 on an Oakland street corner, filming the panorama. A passerby asks if Davenport needs help (or possibly directions) and is politely turned down. Davenport’s independence has been well-established by this point, but I confess that I identified with what I perceived as a helpful stranger.\u003c/p>\n\u003cp>The filmmaker, however, says that he viewed the would-be Good Samaritan as “hyperaware and a nuisance.” “Independence is kind of an overused charm that I think is used for cosmetic purposes rather than the wellbeing of disabled people,” Davenport says. “Your action is spurred by the notion that I am helpless.”\u003c/p>\n\u003cp>Davenport takes on another not-quite-extinct attitude in \u003cem>I Didn’t See You There\u003c/em>, that people with disabilities are freaks. His musings are inspired by the appearance of a circus tent in his Oakland neighborhood, and the kind of acts once presented in such places of “amusement” by the likes of P.T. Barnum. The filmmaker and “the greatest showman” were both born in Bethel, Connecticut, which is anything but a point of pride for Davenport.\u003c/p>\n\u003cp>The accomplishment of \u003cem>I Didn’t See You There\u003c/em> lies in how effectively Davenport and editor Todd Chandler interweave the filmmaker’s personal life with his social-issue concerns, to the point where any distinction evaporates.[aside postID='news_11821598']\u003c/p>\n\u003cp>“Quite frankly,” Davenport says, “there is a dearth of work that puts disability in a political lens, and that’s what you need to start seeing disability as a political identity of marginalized people.”\u003c/p>\n\u003cp>This is where Davenport invokes Riggs, the gay, Black, Oakland director of the landmark docs \u003cem>Ethnic Notions\u003c/em>, \u003cem>Color Adjustment\u003c/em> and \u003cem>Tongues Untied\u003c/em> (his most personal and political work), and who died of AIDS in 1994.\u003c/p>\n\u003cp>“After I made my first film, which was about access, I wanted to move away from disability as a focal point and then [eventually] go back,” Davenport says. “I always felt very conflicted about that, because I didn’t want to be pigeonholed and I didn’t want to be that guy who uses what is in front of him only. I was talking to a professor about this and she mentioned Marlon Riggs, and it completely changed the way I saw myself because, unbeknownst to her, he’s one of my favorite filmmakers. I don’t see any of his work as selfish or derivative or obvious.”\u003c/p>\n\u003cp>His next film will be an examination of assisted suicide through a disability lens, that acknowledges (in Davenport’s words) “the devaluation of disabled lives.” Davenport has arrived on the scene, and he’s putting the pedal to the metal.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Update: ‘I Didn’t See You There’ screens at San Francisco’s Roxie Theater Nov. 4–10. \u003ca href=\"https://www.roxie.com/ai1ec_event/i-didnt-see-you-there/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With all its smooth outdoor tracking shots, the film portrays someone whose daily life requires actively pushing out into the world. Davenport wants us to experience this the way a person with a disability does, of course, but many have had the realization that the world doesn’t come to us, and we have to initiate connections.\u003c/p>\n\u003cp>“I’m very interested in the question of what seems to be unique to me versus what seems to be universal, and that’s what made me make the film,” Davenport says.\u003c/p>\n\u003cfigure id=\"attachment_13908410\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg\" alt=\"Reflection of circus tent and person in wheelchair in window\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13908410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IDSYT_Still_Tent_00-1536x864.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘I Didn’t See You There.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>I Didn’t See You There\u003c/em> debuts Monday, Jan. 24 in the U.S. documentary category in the entirely \u003ca href=\"https://festival.sundance.org/\" rel=\"noopener noreferrer\" target=\"_blank\">online festival\u003c/a>, which begins today. Other Sundance docs by Bay Area filmmakers include Sara Dosa’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae06f6b52cb50e5a0fc998\" rel=\"noopener noreferrer\" target=\"_blank\">Fire of Love\u003c/a>\u003c/em>, about a French couple who studied volcanoes, and Meg Smaker’s \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae07956c1de50b88c80c58\" rel=\"noopener noreferrer\" target=\"_blank\">Jihad Rehab\u003c/a>\u003c/em>, which follows four former Al Qaeda members assimilating into Saudi society. \u003cem>\u003ca href=\"https://festival.sundance.org/program/#film-info/61ae0705b52cb5bd170fca03\" rel=\"noopener noreferrer\" target=\"_blank\">Free Chol Soo Lee\u003c/a>\u003c/em>, by L.A. filmmakers Julie Ha and Eugene Yi, revisits the saga of a Korean immigrant wrongfully convicted of a 1973 murder in San Francisco’s Chinatown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>2020’s Sundance edition featured local filmmakers Nicole Newnham and Jim Lebrecht’s \u003cem>\u003ca href=\"https://www.netflix.com/title/81001496\" rel=\"noopener noreferrer\" target=\"_blank\">Crip Camp: A Disability Revolution\u003c/a>\u003c/em> (on Netflix, and highly recommended), which integrated personal experience with a landmark 1970s civil rights campaign. In contrast, \u003cem>I Didn’t See You There\u003c/em> is primarily experiential and occasionally experimental, largely eschewing information and history in favor of confronting mainstream assumptions and attitudes in both explicit and implicit ways.\u003c/p>\n\u003cp>“I hope it implicates the viewer,” Davenport declares, though he needn’t worry. Take the seemingly prosaic scene where he does a 360 on an Oakland street corner, filming the panorama. A passerby asks if Davenport needs help (or possibly directions) and is politely turned down. Davenport’s independence has been well-established by this point, but I confess that I identified with what I perceived as a helpful stranger.\u003c/p>\n\u003cp>The filmmaker, however, says that he viewed the would-be Good Samaritan as “hyperaware and a nuisance.” “Independence is kind of an overused charm that I think is used for cosmetic purposes rather than the wellbeing of disabled people,” Davenport says. “Your action is spurred by the notion that I am helpless.”\u003c/p>\n\u003cp>Davenport takes on another not-quite-extinct attitude in \u003cem>I Didn’t See You There\u003c/em>, that people with disabilities are freaks. His musings are inspired by the appearance of a circus tent in his Oakland neighborhood, and the kind of acts once presented in such places of “amusement” by the likes of P.T. Barnum. The filmmaker and “the greatest showman” were both born in Bethel, Connecticut, which is anything but a point of pride for Davenport.\u003c/p>\n\u003cp>The accomplishment of \u003cem>I Didn’t See You There\u003c/em> lies in how effectively Davenport and editor Todd Chandler interweave the filmmaker’s personal life with his social-issue concerns, to the point where any distinction evaporates.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Quite frankly,” Davenport says, “there is a dearth of work that puts disability in a political lens, and that’s what you need to start seeing disability as a political identity of marginalized people.”\u003c/p>\n\u003cp>This is where Davenport invokes Riggs, the gay, Black, Oakland director of the landmark docs \u003cem>Ethnic Notions\u003c/em>, \u003cem>Color Adjustment\u003c/em> and \u003cem>Tongues Untied\u003c/em> (his most personal and political work), and who died of AIDS in 1994.\u003c/p>\n\u003cp>“After I made my first film, which was about access, I wanted to move away from disability as a focal point and then [eventually] go back,” Davenport says. “I always felt very conflicted about that, because I didn’t want to be pigeonholed and I didn’t want to be that guy who uses what is in front of him only. I was talking to a professor about this and she mentioned Marlon Riggs, and it completely changed the way I saw myself because, unbeknownst to her, he’s one of my favorite filmmakers. I don’t see any of his work as selfish or derivative or obvious.”\u003c/p>\n\u003cp>His next film will be an examination of assisted suicide through a disability lens, that acknowledges (in Davenport’s words) “the devaluation of disabled lives.” Davenport has arrived on the scene, and he’s putting the pedal to the metal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Update: ‘I Didn’t See You There’ screens at San Francisco’s Roxie Theater Nov. 4–10. \u003ca href=\"https://www.roxie.com/ai1ec_event/i-didnt-see-you-there/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The year 2022 marks the 60th anniversary of the death of \u003ca href=\"https://www.npr.org/tags/129027212/marilyn-monroe\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Monroe\u003c/a>, one of cinema’s most iconic, examined and enduring sex symbols. To commemorate the occasion, CNN is rolling out the new four-part documentary series, \u003cem>Reframed: Marilyn Monroe,\u003c/em> which takes a very different, and original, approach to its subject.\u003c/p>\n\u003cp>During her career, and for decades after her death, Marilyn was objectified, scrutinized and judged—mostly by male writers, biographers and historians. The 1973 book, \u003cem>Marilyn: A Biography, \u003c/em>paired a skeevy, sexist essay by Norman Mailer with pictures of the actress taken by photographer Lawrence Schiller.\u003c/p>\n\u003cp>[aside postid='pop_20417']Schiller does appear in \u003cem>Reframed\u003c/em>, but here he’s talking about Monroe’s acute awareness of the camera—how she posed, what images she selected and how she used them to enhance and leverage her own celebrity status.\u003c/p>\n\u003cp>But most of the time, the voices we hear in this new documentary are female. Actor \u003ca href=\"https://www.npr.org/2015/01/09/376124743/i-was-a-dramatic-kid-for-jessica-chastain-acting-came-naturally\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Chastain\u003c/a> narrates, and an all-women editorial team headed by Sam Starbuck reexamines Marilyn’s movies, marriages and career moves from her point of view. And we hear from women film critics and historians, including the always informative Alicia Malone from Turner Classic Movies.\u003c/p>\n\u003cp>We also hear from several women actors. Some younger ones share why they find Marilyn inspirational both on and off the screen. And peers like Joan Collins and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Burstyn\u003c/a>, who competed in the same sexist studio system as Marilyn did in the 1950s, reflect on how women were treated in Hollywood back then. It’s a revelatory new take on some familiar ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gCX8lddEYlE\u003c/p>\n\u003cp>In \u003cem>Reframed: Marilyn Monroe, \u003c/em>we learn how, as a young actress, Marilyn outlived and outmaneuvered the potential career-killing scandal of the emergence of some earlier nude photos. We also see how, as a more mature actress, she again embraced nude photographs—this time as a weapon, to gain media attention and bargaining power.\u003c/p>\n\u003cp>It was at a time when her movie studio, 20th Century Fox, was funneling almost all its money into the \u003ca href=\"https://www.npr.org/2011/03/25/134829949/elizabeth-taylors-legacy-aids-activist-movie-star\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Taylor\u003c/a> costume drama \u003cem>Cleopatra\u003c/em>. Monroe got the spotlight back on herself—and though she had a long and often combative relationship with the studio and its executives, and had been fired, she ultimately was rehired, given a big raise and awarded the contract terms she had been demanding.\u003c/p>\n\u003cp>We learn a lot more not only about her methods of negotiating, but also her motives. It was not the first time in Marilyn’s life she had fought the studio system and won, but it would be her last. She died in 1962 from an overdose at age 36.\u003c/p>\n\u003cp>[aside postid='pop_6656']But her films would survive, and \u003cem>Reframed \u003c/em>sees them with a fresh set of eyes. There’s the sparkle of her small screen appearance in the 1949 Marx Brothers comedy \u003cem>Love Happy\u003c/em>—the brothers’ last film, but Marilyn’s first. There’s the comic confidence of her brilliant work in \u003cem>The Seven Year Itch \u003c/em>and \u003cem>Some Like It Hot,\u003c/em> and the subtlety of her portrayals in such later, dramatic works as \u003cem>Bus Stop \u003c/em>and \u003cem>The Misfits\u003c/em>.\u003c/p>\n\u003cp>Marilyn took control of her career whenever and however she could, even starting her own production company to choose her own roles. And she took those roles seriously. Near the end of her life, when a reporter for \u003cem>Life \u003c/em>magazine asks her if it was difficult sometimes for her to crank out her performance, she bristles instantly at the word, saying, “I don’t crank anything.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At this point, there are no plans to make \u003cem>Reframed \u003c/em>an ongoing documentary series, reevaluating the careers and legacies of selected filmmakers and performers. But there ought to be—because \u003cem>Reframed: Marilyn Monroe \u003c/em>is planting its flag on some fresh territory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Reframed%27+revisits+Marilyn+Monroe%27s+life+and+legacy%2C+from+an+all-women+point+of+view&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year 2022 marks the 60th anniversary of the death of \u003ca href=\"https://www.npr.org/tags/129027212/marilyn-monroe\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Monroe\u003c/a>, one of cinema’s most iconic, examined and enduring sex symbols. To commemorate the occasion, CNN is rolling out the new four-part documentary series, \u003cem>Reframed: Marilyn Monroe,\u003c/em> which takes a very different, and original, approach to its subject.\u003c/p>\n\u003cp>During her career, and for decades after her death, Marilyn was objectified, scrutinized and judged—mostly by male writers, biographers and historians. The 1973 book, \u003cem>Marilyn: A Biography, \u003c/em>paired a skeevy, sexist essay by Norman Mailer with pictures of the actress taken by photographer Lawrence Schiller.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schiller does appear in \u003cem>Reframed\u003c/em>, but here he’s talking about Monroe’s acute awareness of the camera—how she posed, what images she selected and how she used them to enhance and leverage her own celebrity status.\u003c/p>\n\u003cp>But most of the time, the voices we hear in this new documentary are female. Actor \u003ca href=\"https://www.npr.org/2015/01/09/376124743/i-was-a-dramatic-kid-for-jessica-chastain-acting-came-naturally\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Chastain\u003c/a> narrates, and an all-women editorial team headed by Sam Starbuck reexamines Marilyn’s movies, marriages and career moves from her point of view. And we hear from women film critics and historians, including the always informative Alicia Malone from Turner Classic Movies.\u003c/p>\n\u003cp>We also hear from several women actors. Some younger ones share why they find Marilyn inspirational both on and off the screen. And peers like Joan Collins and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Burstyn\u003c/a>, who competed in the same sexist studio system as Marilyn did in the 1950s, reflect on how women were treated in Hollywood back then. It’s a revelatory new take on some familiar ground.\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/gCX8lddEYlE'\n title='//www.youtube.com/embed/gCX8lddEYlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Reframed: Marilyn Monroe, \u003c/em>we learn how, as a young actress, Marilyn outlived and outmaneuvered the potential career-killing scandal of the emergence of some earlier nude photos. We also see how, as a more mature actress, she again embraced nude photographs—this time as a weapon, to gain media attention and bargaining power.\u003c/p>\n\u003cp>It was at a time when her movie studio, 20th Century Fox, was funneling almost all its money into the \u003ca href=\"https://www.npr.org/2011/03/25/134829949/elizabeth-taylors-legacy-aids-activist-movie-star\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Taylor\u003c/a> costume drama \u003cem>Cleopatra\u003c/em>. Monroe got the spotlight back on herself—and though she had a long and often combative relationship with the studio and its executives, and had been fired, she ultimately was rehired, given a big raise and awarded the contract terms she had been demanding.\u003c/p>\n\u003cp>We learn a lot more not only about her methods of negotiating, but also her motives. It was not the first time in Marilyn’s life she had fought the studio system and won, but it would be her last. She died in 1962 from an overdose at age 36.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans",
"headTitle": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans | KQED",
"content": "\u003cp>As I see it, there are two very different audiences for \u003cem>Get Back, \u003c/em>\u003ca href=\"https://www.npr.org/2019/01/30/689961544/peter-jackson-to-direct-documentary-on-the-beatles-recording-let-it-be\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Jackson\u003c/a>‘s new documentary about \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener noreferrer\">The Beatles\u003c/a>‘ \u003cem>Let It Be \u003c/em>sessions. There are the most rabid fans, who will watch it and recognize instantly the stuff they’ve never heard or seen before. And for them—well, for us, because I’m part of that group—this Disney+ docuseries is a true treasure. For everyone else, the first part of \u003cem>The Beatles: Get Back \u003c/em>may be slow going.\u003c/p>\n\u003cp>[aside postid='arts_13890087']What you’re basically doing is watching John Lennon, Paul McCartney, George Harrison and Ringo Starr rehearse, revise and procrastinate. They debate a lot about where to stage their planned concert and even what songs to include. At one point, they decide to revisit a lot of compositions they wrote and abandoned much earlier in their careers, in case they could use some to pad out the set list. One such song, “One After 909,” makes the cut, and ends up being one of the album’s high-energy highlights. Another number with a blatant country flavor, “Because I Know You Love Me So,” surfaces for the first time here, with Paul dismissing it as soon as they finish performing it.\u003c/p>\n\u003cp>There are joys even in this early stretch, because you get to see the original \u003cem>Let It Be \u003c/em>documentary, directed by Michael Lindsay-Hogg, take shape. At first, The Beatles and the film crew assemble on a cavernous movie soundstage to rehearse, and on Day 1, Lindsay-Hogg actually approaches the Beatles and asks them to play more quietly so that he can record their conversations.\u003c/p>\n\u003cp>As tensions rise during early rehearsals, the cameras captures everything, including the moment when George responds to a casual call for a lunch break by telling his fellow Beatles, just as casually, that he’s taking a break from the band—effective immediately. He ends up gone for days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Auta2lagtw4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>[aside postid='arts_10742450']The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Peter Jackson's wondrous 'Get Back' offers an inside look at the band's creative process, as well as fresh live footage. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I see it, there are two very different audiences for \u003cem>Get Back, \u003c/em>\u003ca href=\"https://www.npr.org/2019/01/30/689961544/peter-jackson-to-direct-documentary-on-the-beatles-recording-let-it-be\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Jackson\u003c/a>‘s new documentary about \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener noreferrer\">The Beatles\u003c/a>‘ \u003cem>Let It Be \u003c/em>sessions. There are the most rabid fans, who will watch it and recognize instantly the stuff they’ve never heard or seen before. And for them—well, for us, because I’m part of that group—this Disney+ docuseries is a true treasure. For everyone else, the first part of \u003cem>The Beatles: Get Back \u003c/em>may be slow going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What you’re basically doing is watching John Lennon, Paul McCartney, George Harrison and Ringo Starr rehearse, revise and procrastinate. They debate a lot about where to stage their planned concert and even what songs to include. At one point, they decide to revisit a lot of compositions they wrote and abandoned much earlier in their careers, in case they could use some to pad out the set list. One such song, “One After 909,” makes the cut, and ends up being one of the album’s high-energy highlights. Another number with a blatant country flavor, “Because I Know You Love Me So,” surfaces for the first time here, with Paul dismissing it as soon as they finish performing it.\u003c/p>\n\u003cp>There are joys even in this early stretch, because you get to see the original \u003cem>Let It Be \u003c/em>documentary, directed by Michael Lindsay-Hogg, take shape. At first, The Beatles and the film crew assemble on a cavernous movie soundstage to rehearse, and on Day 1, Lindsay-Hogg actually approaches the Beatles and asks them to play more quietly so that he can record their conversations.\u003c/p>\n\u003cp>As tensions rise during early rehearsals, the cameras captures everything, including the moment when George responds to a casual call for a lunch break by telling his fellow Beatles, just as casually, that he’s taking a break from the band—effective immediately. He ends up gone for days.\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/Auta2lagtw4'\n title='//www.youtube.com/embed/Auta2lagtw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New 'New York Times' Doc Takes a Closer Look at Janet Jackson's Super Bowl Scandal",
"headTitle": "New ‘New York Times’ Doc Takes a Closer Look at Janet Jackson’s Super Bowl Scandal | KQED",
"content": "\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OddhPlcQrmo\u003c/p>\n\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>[aside postid='pop_20175']According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>[aside postid='arts_13892744']As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>[aside postid='pop_108058']In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\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/OddhPlcQrmo'\n title='//www.youtube.com/embed/OddhPlcQrmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Jagged' Captures a Young Alanis Morissette Turning Pain Into Power",
"headTitle": "‘Jagged’ Captures a Young Alanis Morissette Turning Pain Into Power | KQED",
"content": "\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>[aside postid='arts_13904188']Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CWtvC5a5TB0\u003c/p>\n\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>[aside postid='arts_13892800']When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Only in hindsight,” Garbage vocalist Shirley Manson says in the film, “am I aware of what Alanis did for every woman that’s come up behind her. When you’re battering down 13 million doors, that’s helping everyone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\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/CWtvC5a5TB0'\n title='//www.youtube.com/embed/CWtvC5a5TB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Only in hindsight,” Garbage vocalist Shirley Manson says in the film, “am I aware of what Alanis did for every woman that’s come up behind her. When you’re battering down 13 million doors, that’s helping everyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Film About Oakland's Most Important Mural That You Can't See",
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"headTitle": "A Film About Oakland’s Most Important Mural That You Can’t See | KQED",
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"content": "\u003cp>A mural stands in downtown Oakland that honors the city’s culture and history. It’s a giant artwork birthed out of years and years of community conversations and the artists’ commitment to the concept.\u003c/p>\n\u003cp>The problem is that nobody can see the mural. Not anymore, at least. Except for a small patch of paint poking from behind a barrier, the mural depicting Oakland’s culture is now completely blocked by a new six-story luxury high-rise.\u003c/p>\n\u003cp>The story of the mural, and its disappearance, is shown in the full-length documentary \u003ca href=\"https://www.instagram.com/p/CV_mXnkP8fz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Alice Street\u003c/em>\u003c/a>. On Tuesday, Nov. 16, as a part of the Berkeley Film Foundation’s documentary screening series, the film will be shown at Oakland’s \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">New Parkway Theatre\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13906006\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg\" alt=\"Artists marching to City Hall to make sure their voices are heard. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1020x678.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1536x1021.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-2048x1362.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1920x1277.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gathered and marched to City Hall to make sure their voices are heard. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artists \u003ca href=\"https://www.instagram.com/withoutmyego/\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Mundo\u003c/a> (founder of the \u003ca href=\"https://crpbayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Rejuvenation Project\u003c/a>) and \u003ca href=\"https://www.instagram.com/panchopescador/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Pescador\u003c/a> began the project over a decade ago. The process was documented, from idea to outline. There were community conferences and government gatherings, as well as critiques and criticisms from neighbors who felt like the theme—people of color pushing for resistance against oppressive forces—didn’t represent their experience.\u003c/p>\n\u003cp>Nearby cultural centers were also included. At 14th Street and Alice Street, right across the street from the mural, is the Malonga Casquelourd Center, a hub for African drumming and dance performances. On the other side sits Hotel Oakland, a residential and cultural space for older Asian folks. Elements from the two centers—both the physical design of the buildings and faces of the people who’ve graced those grounds—were incorporated into the artwork.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The artists eventually created a mural covering four large walls of a sizable parking lot. But as the paint dried and the \u003ca href=\"https://www.kqed.org/arts/10139706/oaklands-newest-mural\" target=\"_blank\" rel=\"noopener noreferrer\">ribbon was cut in\u003c/a> August of 2014, a new development was being planned on that very spot.\u003c/p>\n\u003cfigure id=\"attachment_13906005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg\" alt=\"Performers playing instruments inside of Hotel Oakland.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1536x1061.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-2048x1415.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1920x1326.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers play instruments inside of Hotel Oakland. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited to highlight the artists and what’s happened since the documentary took place,” says film producer \u003ca href=\"https://linktr.ee/spenceriwilkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Spencer Wilkinson.\u003c/a>\u003c/p>\n\u003cp>He says the two lead artists on the project will be present for a post-screening dialogue on Nov. 16. They’ll be joined by drummer \u003ca href=\"https://actaonline.org/profile/kiazi-malonga/\" target=\"_blank\" rel=\"noopener noreferrer\">Kiazi Malonga\u003c/a>, son of the late world-renown artist Malonga Casquelourd and head of the \u003ca href=\"https://www.actaonline.org/profile/fua-dia-congo/\" target=\"_blank\" rel=\"noopener noreferrer\">Fua Dia Congo\u003c/a> performance group, as well as musician and poet \u003ca href=\"https://destinymuhammad.net/home\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad,\u003c/a> who is featured in the film asking the poignant question: “Is what’s coming better than what’s here?”\u003c/p>\n\u003cp>The film concludes with a note that individuals and community organizations such as the \u003ca href=\"https://www.ccedoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Coalition For Equitable Development (CCED)\u003c/a> have pushed for and received a set of community benefit agreements, which have led to more low-income housing, more parking—and, in addition to other agreements, they’ve been financially supported in the painting of a new mural.\u003c/p>\n\u003cfigure id=\"attachment_13906004\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg\" alt=\"Drummers gather at a celebration for the new mural on 14th Street in Oakland.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-2048x1639.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1920x1537.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drummers gather at a celebration for the new mural on 14th Street in Oakland. \u003ccite>(Rudi Tcruz and Galex Tcruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple blocks down from the location of the site of the previous mural, on the side of the \u003ca href=\"https://greenlining.org/?gclid=CjwKCAiA1aiMBhAUEiwACw25MbNayyyBrFf0DTmTvP6XMoVjjDk6eJKLCYNgCPH7y_LpXVuc66ElURoCvyEQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlining Institute\u003c/a>, now stands a new painting featuring some of the same artists as the previous piece, as well as the themes of housing justice, diversity and cultural arts.\u003c/p>\n\u003cp>As for the old mural, mummified by a new building? Maybe years, or decades from now it will see new light. But for now, all that’s visible are the names of the artists and the website where you can get more information about \u003ca href=\"https://www.alicestreetfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the film\u003c/a>—and the ongoing conversation about the arts, community and urban development.\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>‘Alice Street’ screens Tuesday, Nov. 16, at the New Parkway in Oakland. \u003ca href=\"https://www.youtube.com/watch?v=1lJRPZLuY9c\" target=\"_blank\" rel=\"noopener noreferrer\">Trailer here\u003c/a>, and \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "'Alice Street,' about a years-in-the-making mural now obscured by new development, screens at the New Parkway in Oakland. ",
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"title": "'Alice Street' Documents Oakland's Hidden Downtown Mural | KQED",
"description": "'Alice Street,' about a years-in-the-making mural now obscured by new development, screens at the New Parkway in Oakland. ",
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"headline": "A Film About Oakland's Most Important Mural That You Can't See",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A mural stands in downtown Oakland that honors the city’s culture and history. It’s a giant artwork birthed out of years and years of community conversations and the artists’ commitment to the concept.\u003c/p>\n\u003cp>The problem is that nobody can see the mural. Not anymore, at least. Except for a small patch of paint poking from behind a barrier, the mural depicting Oakland’s culture is now completely blocked by a new six-story luxury high-rise.\u003c/p>\n\u003cp>The story of the mural, and its disappearance, is shown in the full-length documentary \u003ca href=\"https://www.instagram.com/p/CV_mXnkP8fz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Alice Street\u003c/em>\u003c/a>. On Tuesday, Nov. 16, as a part of the Berkeley Film Foundation’s documentary screening series, the film will be shown at Oakland’s \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">New Parkway Theatre\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13906006\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg\" alt=\"Artists marching to City Hall to make sure their voices are heard. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1020x678.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1536x1021.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-2048x1362.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1920x1277.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gathered and marched to City Hall to make sure their voices are heard. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artists \u003ca href=\"https://www.instagram.com/withoutmyego/\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Mundo\u003c/a> (founder of the \u003ca href=\"https://crpbayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Rejuvenation Project\u003c/a>) and \u003ca href=\"https://www.instagram.com/panchopescador/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Pescador\u003c/a> began the project over a decade ago. The process was documented, from idea to outline. There were community conferences and government gatherings, as well as critiques and criticisms from neighbors who felt like the theme—people of color pushing for resistance against oppressive forces—didn’t represent their experience.\u003c/p>\n\u003cp>Nearby cultural centers were also included. At 14th Street and Alice Street, right across the street from the mural, is the Malonga Casquelourd Center, a hub for African drumming and dance performances. On the other side sits Hotel Oakland, a residential and cultural space for older Asian folks. Elements from the two centers—both the physical design of the buildings and faces of the people who’ve graced those grounds—were incorporated into the artwork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artists eventually created a mural covering four large walls of a sizable parking lot. But as the paint dried and the \u003ca href=\"https://www.kqed.org/arts/10139706/oaklands-newest-mural\" target=\"_blank\" rel=\"noopener noreferrer\">ribbon was cut in\u003c/a> August of 2014, a new development was being planned on that very spot.\u003c/p>\n\u003cfigure id=\"attachment_13906005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg\" alt=\"Performers playing instruments inside of Hotel Oakland.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1536x1061.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-2048x1415.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1920x1326.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers play instruments inside of Hotel Oakland. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited to highlight the artists and what’s happened since the documentary took place,” says film producer \u003ca href=\"https://linktr.ee/spenceriwilkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Spencer Wilkinson.\u003c/a>\u003c/p>\n\u003cp>He says the two lead artists on the project will be present for a post-screening dialogue on Nov. 16. They’ll be joined by drummer \u003ca href=\"https://actaonline.org/profile/kiazi-malonga/\" target=\"_blank\" rel=\"noopener noreferrer\">Kiazi Malonga\u003c/a>, son of the late world-renown artist Malonga Casquelourd and head of the \u003ca href=\"https://www.actaonline.org/profile/fua-dia-congo/\" target=\"_blank\" rel=\"noopener noreferrer\">Fua Dia Congo\u003c/a> performance group, as well as musician and poet \u003ca href=\"https://destinymuhammad.net/home\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad,\u003c/a> who is featured in the film asking the poignant question: “Is what’s coming better than what’s here?”\u003c/p>\n\u003cp>The film concludes with a note that individuals and community organizations such as the \u003ca href=\"https://www.ccedoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Coalition For Equitable Development (CCED)\u003c/a> have pushed for and received a set of community benefit agreements, which have led to more low-income housing, more parking—and, in addition to other agreements, they’ve been financially supported in the painting of a new mural.\u003c/p>\n\u003cfigure id=\"attachment_13906004\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg\" alt=\"Drummers gather at a celebration for the new mural on 14th Street in Oakland.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-2048x1639.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1920x1537.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drummers gather at a celebration for the new mural on 14th Street in Oakland. \u003ccite>(Rudi Tcruz and Galex Tcruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple blocks down from the location of the site of the previous mural, on the side of the \u003ca href=\"https://greenlining.org/?gclid=CjwKCAiA1aiMBhAUEiwACw25MbNayyyBrFf0DTmTvP6XMoVjjDk6eJKLCYNgCPH7y_LpXVuc66ElURoCvyEQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlining Institute\u003c/a>, now stands a new painting featuring some of the same artists as the previous piece, as well as the themes of housing justice, diversity and cultural arts.\u003c/p>\n\u003cp>As for the old mural, mummified by a new building? Maybe years, or decades from now it will see new light. But for now, all that’s visible are the names of the artists and the website where you can get more information about \u003ca href=\"https://www.alicestreetfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the film\u003c/a>—and the ongoing conversation about the arts, community and urban development.\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>‘Alice Street’ screens Tuesday, Nov. 16, at the New Parkway in Oakland. \u003ca href=\"https://www.youtube.com/watch?v=1lJRPZLuY9c\" target=\"_blank\" rel=\"noopener noreferrer\">Trailer here\u003c/a>, and \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘What Happened, Brittany Murphy?’ is a Cautionary Tale of Love and Trust",
"headTitle": "‘What Happened, Brittany Murphy?’ is a Cautionary Tale of Love and Trust | KQED",
"content": "\u003cp>What you get out of \u003cem>What Happened, Brittany Murphy?\u003c/em> depends entirely on how big a fan you are of the actress. The biggest fans—the ones who know her movies by heart, the ones who still pay her tribute annually, the ones who have long questioned the circumstances of her death—won’t learn a huge amount. But for folks who fell in love with Murphy in \u003cem>Clueless\u003c/em>, cheered her on in \u003cem>8 Mile\u003c/em>, and then wrote off her death as just another Hollywood tragedy, \u003cem>What Happened\u003c/em> is an emotional, often confounding, rollercoaster.\u003c/p>\n\u003cp>Crucially, at the end of this two-part documentary, viewers will be no clearer about why Brittany Murphy died. Of course, we’ve known since her 2009 passing that the cause of death was a combination of pneumonia, anemia and “multiple drug intoxication.” The reasons for her not receiving—or seeking out—medical assistance in the days before her death, however, remain incredibly murky. What is clear from various testimonies is that she almost certainly could have been saved had she made it to a hospital in time. \u003cem>What Happened\u003c/em> also manages to vividly paint a picture of the perfect storm that Murphy found herself in at the time of her death. Her physical and mental health were suffering, as was her career—the result of an overbearing husband and lack of real emotional support.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OaQvsFIB4Uw\u003c/p>\n\u003cp>\u003cem>What Happened\u003c/em> subjects Murphy’s husband Simon Monjack to intense scrutiny—and rightfully so. He is shown to be a pathological liar, a controlling partner, and a man who responded to his wife’s death in a variety of deeply inappropriate ways. Among other things, in the months after Murphy’s death, he posed for portraits with Murphy’s mother Sharon in a manner that made them look like a couple. He walked a reporter from \u003cem>People\u003c/em> magazine through Murphy’s scene of death in her cluttered bathroom, down to the exact position she was found in. He set up a website asking for financial contributions, then quickly took it down when people started asking questions. Various bombshell revelations about his past and the depth of his deceptions drop throughout the documentary.\u003c/p>\n\u003cp>[aside postid='arts_13903795']It’s impossible not to draw parallels—especially so soon after \u003cem>Britney vs Spears\u003c/em>, \u003cem>Controlling Britney Spears\u003c/em> and \u003cem>Framing Britney Spears\u003c/em>—between the way Jamie Spears treated his daughter and the way Monjack treated his wife. The financial benefits of Monjack marrying Murphy were huge—he is accused in the film of spending $3 million of her money in just three years. Like Spears, Murphy was also kept isolated by her male guardian, and became woefully reliant on him. Unlike Spears, Murphy never managed to navigate a path out. In a strange coincidence, Murphy died in a house that Spears sold to her in 2003.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other main object of scrutiny in \u003cem>What Happened\u003c/em> is the Hollywood system that subjects women to grotesquely restrictive beauty standards. Murphy is shown transforming from an excited wunderkind into a joyful teen starlet, and then an insecure woman, forced to alter her body, her hair and her style to appease casting agents. The film presents the tabloid press as complicit in this. It is remarkable to see a contrite Perez Hilton, looking back with regret at how his website mocked and dehumanized vulnerable celebrities, including Murphy, in the first decade of the 2000s.\u003c/p>\n\u003cp>\u003cem>What Happened\u003c/em> also, thankfully, finds time to remind viewers just how enormously talented Murphy was—making Hollywood’s focus on her appearance even more galling. In particular, clips of Murphy in \u003cem>Girl, Interrupted\u003c/em> hammer home her acting chops—and what we lost when she died.\u003c/p>\n\u003cp>[aside postid='arts_13903591']At the center of \u003cem>What Happened, Brittany Murphy?\u003c/em> is the codependent triumvirate of Brittany Murphy, Simon Monjack and Sharon Murphy. It’s fascinating and uncomfortable to witness their strange dynamic playing out in the documentary. Private photos Monjack took of Murphy at home are nothing less than chilling. It’s not a spoiler to say there isn’t a happy ending for any one of the three. \u003c/p>\n\u003cp>At its core, \u003cem>What Happened, Brittany Murphy?\u003c/em> is about wish fulfillment. It’s about what happens when unsuspecting people believe too much in fairytales. One gets the sense that Sharon and Brittany believed in—and craved—their own happily-ever-after so much, they didn’t stop to question who was offering it to them.\u003c/p>\n\u003cp>As the documentary points out, the strangeness of Murphy’s death is already a well-worn topic online, particularly among true crime vloggers. The value of \u003cem>What Happened, Brittany Murphy?\u003c/em> is in its ability to also remind you of her humanity, her talent, and just how tragic the end of her life was. It also serves as a reminder that good people don’t always get what they want or what they need. And that, sometimes, the very people assigned to protect them are the ones that ultimately do the most harm.\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>‘What Happened, Brittany Murphy?’ begins streaming Thursday, Oct. 14, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/what-happened-brittany-murphy\" 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>What you get out of \u003cem>What Happened, Brittany Murphy?\u003c/em> depends entirely on how big a fan you are of the actress. The biggest fans—the ones who know her movies by heart, the ones who still pay her tribute annually, the ones who have long questioned the circumstances of her death—won’t learn a huge amount. But for folks who fell in love with Murphy in \u003cem>Clueless\u003c/em>, cheered her on in \u003cem>8 Mile\u003c/em>, and then wrote off her death as just another Hollywood tragedy, \u003cem>What Happened\u003c/em> is an emotional, often confounding, rollercoaster.\u003c/p>\n\u003cp>Crucially, at the end of this two-part documentary, viewers will be no clearer about why Brittany Murphy died. Of course, we’ve known since her 2009 passing that the cause of death was a combination of pneumonia, anemia and “multiple drug intoxication.” The reasons for her not receiving—or seeking out—medical assistance in the days before her death, however, remain incredibly murky. What is clear from various testimonies is that she almost certainly could have been saved had she made it to a hospital in time. \u003cem>What Happened\u003c/em> also manages to vividly paint a picture of the perfect storm that Murphy found herself in at the time of her death. Her physical and mental health were suffering, as was her career—the result of an overbearing husband and lack of real emotional support.\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/OaQvsFIB4Uw'\n title='//www.youtube.com/embed/OaQvsFIB4Uw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>What Happened\u003c/em> subjects Murphy’s husband Simon Monjack to intense scrutiny—and rightfully so. He is shown to be a pathological liar, a controlling partner, and a man who responded to his wife’s death in a variety of deeply inappropriate ways. Among other things, in the months after Murphy’s death, he posed for portraits with Murphy’s mother Sharon in a manner that made them look like a couple. He walked a reporter from \u003cem>People\u003c/em> magazine through Murphy’s scene of death in her cluttered bathroom, down to the exact position she was found in. He set up a website asking for financial contributions, then quickly took it down when people started asking questions. Various bombshell revelations about his past and the depth of his deceptions drop throughout the documentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s impossible not to draw parallels—especially so soon after \u003cem>Britney vs Spears\u003c/em>, \u003cem>Controlling Britney Spears\u003c/em> and \u003cem>Framing Britney Spears\u003c/em>—between the way Jamie Spears treated his daughter and the way Monjack treated his wife. The financial benefits of Monjack marrying Murphy were huge—he is accused in the film of spending $3 million of her money in just three years. Like Spears, Murphy was also kept isolated by her male guardian, and became woefully reliant on him. Unlike Spears, Murphy never managed to navigate a path out. In a strange coincidence, Murphy died in a house that Spears sold to her in 2003.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other main object of scrutiny in \u003cem>What Happened\u003c/em> is the Hollywood system that subjects women to grotesquely restrictive beauty standards. Murphy is shown transforming from an excited wunderkind into a joyful teen starlet, and then an insecure woman, forced to alter her body, her hair and her style to appease casting agents. The film presents the tabloid press as complicit in this. It is remarkable to see a contrite Perez Hilton, looking back with regret at how his website mocked and dehumanized vulnerable celebrities, including Murphy, in the first decade of the 2000s.\u003c/p>\n\u003cp>\u003cem>What Happened\u003c/em> also, thankfully, finds time to remind viewers just how enormously talented Murphy was—making Hollywood’s focus on her appearance even more galling. In particular, clips of Murphy in \u003cem>Girl, Interrupted\u003c/em> hammer home her acting chops—and what we lost when she died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of \u003cem>What Happened, Brittany Murphy?\u003c/em> is the codependent triumvirate of Brittany Murphy, Simon Monjack and Sharon Murphy. It’s fascinating and uncomfortable to witness their strange dynamic playing out in the documentary. Private photos Monjack took of Murphy at home are nothing less than chilling. It’s not a spoiler to say there isn’t a happy ending for any one of the three. \u003c/p>\n\u003cp>At its core, \u003cem>What Happened, Brittany Murphy?\u003c/em> is about wish fulfillment. It’s about what happens when unsuspecting people believe too much in fairytales. One gets the sense that Sharon and Brittany believed in—and craved—their own happily-ever-after so much, they didn’t stop to question who was offering it to them.\u003c/p>\n\u003cp>As the documentary points out, the strangeness of Murphy’s death is already a well-worn topic online, particularly among true crime vloggers. The value of \u003cem>What Happened, Brittany Murphy?\u003c/em> is in its ability to also remind you of her humanity, her talent, and just how tragic the end of her life was. It also serves as a reminder that good people don’t always get what they want or what they need. And that, sometimes, the very people assigned to protect them are the ones that ultimately do the most harm.\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>‘What Happened, Brittany Murphy?’ begins streaming Thursday, Oct. 14, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/what-happened-brittany-murphy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
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"content": "\u003cp>In 2021, how you perceive online shaming campaigns often has a great deal to do with your political leanings. In the broadest of terms, if you fall on the right, it’s called “cancel culture”—a merciless, life-ruining takedown of fallible human beings. On the left, it’s called “consequence culture”—wrongdoers being held accountable for their own awful behavior. Now, a new documentary called \u003ci>\u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">15 Minutes of Shame\u003c/a>\u003c/i>—executive produced by Monica Lewinsky and directed by Max Joseph—is here to fill out the space in between. And it is a thoroughly enlightening, if anxiety-inducing, watch.\u003c/p>\n\u003cp>Lewinsky’s involvement here is key. In the film’s introduction, she refers to herself as “Patient Zero of having a reputation completely destroyed, worldwide, because of the internet.” And while that is an accurate assessment, \u003cem>15 Minutes\u003c/em> is not here to tell you the unfettered power of the internet is an exclusively bad thing. If anything, its end goal is to insert into these narratives the thing that is so often missing on the internet: humanity in all of its shades of gray.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhJrnNdH-aw\u003c/p>\n\u003cp>Like Jon Ronson’s excellent 2015 book, \u003cem>So You’ve Been Publicly Shamed\u003c/em>, \u003cem>15 Minutes\u003c/em> focuses not on humiliated celebrities, but rather a handful of everyday people whose lives have been decimated by their online characterizations. There’s Matt Colvin, \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guy who bought up 17,700 bottles of hand sanitizer\u003c/a> at the start of the pandemic. There’s Emmanuel Cafferty, a Latino employee of San Diego Gas and Electric who lost his job after a member of the public accused him of making a white power hand gesture. And there’s Laura Krolczyk, who, in a fit of frustration with COVID deniers, wrote on her Facebook page: “Trump supporters need to pledge to give up their ventilators for someone else.”\u003c/p>\n\u003cp>[aside postid='arts_10583072']The documentary allows each of these figures some space to explain themselves, but the point is not to vindicate them. The point is to take a deep dive into the cultural, social and psychological drivers behind internet take-downs. And it’s in those moments that \u003cem>15 Minutes\u003c/em> does its most interesting work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary sketches a fascinating “brief history of public shaming,” starting at the dawn of civilization, running through the introduction of the pillory, and then onto the invention of the printing press, tabloids and, finally, the internet. At one point, while talking about punishments doled out in town squares hundreds of years ago, cultural historian Dr. Tiffany Watt says: “This is a person who is suffering because they’ve done something wrong. And we have to punish them in order to tell everyone else not to do the same thing.” It’s clear in that moment the impulse to publicly shame is a thread that’s been present throughout history, and that the internet is merely the latest conduit for it.\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> excels when discussing the psychology behind internet pile-ons. UCSF neuroscientist and psychologist Dr. Helen Weng explains why it’s harder for our brains to recognize people as full humans when we can’t see their faces and body language. Watt shares that one study of soccer fans found they felt a greater sense of joy from seeing rival teams fail than they did from seeing their own teams score. “What that showed,” Watt notes, “is that we enjoy seeing other people fail more than we enjoy winning, ourselves.” Being divided into “rival tribes,” Watt adds, “is a very, very dangerous place for a society to be in.”\u003c/p>\n\u003cp>The cultural commentators throughout \u003cem>15 Minutes of Shame\u003c/em> offer up similarly thought-provoking analysis. Segments with Roxane Gay perfectly encapsulate the struggles of online discourse. On one hand, Gay talks about why fighting back online is so necessary. “People are so unseen and so unheard and they’ve been so unrepresented for so long, and you see something done about it. That is incredibly satisfying.” On the other hand, Gay acknowledges the deep flaws of the format. “People love to say … ‘I am not responsible for dehumanizing the person, the internet is,’” she notes. “The internet is there, but we are responsible for the ways in which we dehumanize each other.”\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> also takes the time to find out how tech companies are complicit in that dehumanization. Technology ethicist Tristan Harris, a former Google employee, explains: “One NYU study found that for every word of moral outrage—negative human emotions—that you added to a tweet … it increased the retweet rate by 13%.” Harris goes on to compare Twitter’s algorithm to rubbernecking. Its desire, he notes, is to feed us “car crash after car crash after car crash.”\u003c/p>\n\u003cp>[aside postid='arts_13902631']Ultimately, \u003cem>15 Minutes of Shame\u003c/em> is a documentary that, on the surface, seeks to capture our global online culture at this time and in this place. But it also contextualizes how we got here and, importantly, makes some suggestions as to how we can get better at handling it.\u003c/p>\n\u003cp>Lewinsky bookends the film with a single proposition: “Imagine waking up one morning with the whole world suddenly knowing your name.” But, at the end of the 86-minute film, she adds a question. “What kind of world do you want that to be?” You’ll have a much better idea after watching \u003cem>15 Minutes of Shame\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>‘15 Minutes of Shame’ begins streaming Thursday, Oct. 7, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" 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>In 2021, how you perceive online shaming campaigns often has a great deal to do with your political leanings. In the broadest of terms, if you fall on the right, it’s called “cancel culture”—a merciless, life-ruining takedown of fallible human beings. On the left, it’s called “consequence culture”—wrongdoers being held accountable for their own awful behavior. Now, a new documentary called \u003ci>\u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">15 Minutes of Shame\u003c/a>\u003c/i>—executive produced by Monica Lewinsky and directed by Max Joseph—is here to fill out the space in between. And it is a thoroughly enlightening, if anxiety-inducing, watch.\u003c/p>\n\u003cp>Lewinsky’s involvement here is key. In the film’s introduction, she refers to herself as “Patient Zero of having a reputation completely destroyed, worldwide, because of the internet.” And while that is an accurate assessment, \u003cem>15 Minutes\u003c/em> is not here to tell you the unfettered power of the internet is an exclusively bad thing. If anything, its end goal is to insert into these narratives the thing that is so often missing on the internet: humanity in all of its shades of gray.\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/dhJrnNdH-aw'\n title='//www.youtube.com/embed/dhJrnNdH-aw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Jon Ronson’s excellent 2015 book, \u003cem>So You’ve Been Publicly Shamed\u003c/em>, \u003cem>15 Minutes\u003c/em> focuses not on humiliated celebrities, but rather a handful of everyday people whose lives have been decimated by their online characterizations. There’s Matt Colvin, \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guy who bought up 17,700 bottles of hand sanitizer\u003c/a> at the start of the pandemic. There’s Emmanuel Cafferty, a Latino employee of San Diego Gas and Electric who lost his job after a member of the public accused him of making a white power hand gesture. And there’s Laura Krolczyk, who, in a fit of frustration with COVID deniers, wrote on her Facebook page: “Trump supporters need to pledge to give up their ventilators for someone else.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary allows each of these figures some space to explain themselves, but the point is not to vindicate them. The point is to take a deep dive into the cultural, social and psychological drivers behind internet take-downs. And it’s in those moments that \u003cem>15 Minutes\u003c/em> does its most interesting work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The documentary sketches a fascinating “brief history of public shaming,” starting at the dawn of civilization, running through the introduction of the pillory, and then onto the invention of the printing press, tabloids and, finally, the internet. At one point, while talking about punishments doled out in town squares hundreds of years ago, cultural historian Dr. Tiffany Watt says: “This is a person who is suffering because they’ve done something wrong. And we have to punish them in order to tell everyone else not to do the same thing.” It’s clear in that moment the impulse to publicly shame is a thread that’s been present throughout history, and that the internet is merely the latest conduit for it.\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> excels when discussing the psychology behind internet pile-ons. UCSF neuroscientist and psychologist Dr. Helen Weng explains why it’s harder for our brains to recognize people as full humans when we can’t see their faces and body language. Watt shares that one study of soccer fans found they felt a greater sense of joy from seeing rival teams fail than they did from seeing their own teams score. “What that showed,” Watt notes, “is that we enjoy seeing other people fail more than we enjoy winning, ourselves.” Being divided into “rival tribes,” Watt adds, “is a very, very dangerous place for a society to be in.”\u003c/p>\n\u003cp>The cultural commentators throughout \u003cem>15 Minutes of Shame\u003c/em> offer up similarly thought-provoking analysis. Segments with Roxane Gay perfectly encapsulate the struggles of online discourse. On one hand, Gay talks about why fighting back online is so necessary. “People are so unseen and so unheard and they’ve been so unrepresented for so long, and you see something done about it. That is incredibly satisfying.” On the other hand, Gay acknowledges the deep flaws of the format. “People love to say … ‘I am not responsible for dehumanizing the person, the internet is,’” she notes. “The internet is there, but we are responsible for the ways in which we dehumanize each other.”\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> also takes the time to find out how tech companies are complicit in that dehumanization. Technology ethicist Tristan Harris, a former Google employee, explains: “One NYU study found that for every word of moral outrage—negative human emotions—that you added to a tweet … it increased the retweet rate by 13%.” Harris goes on to compare Twitter’s algorithm to rubbernecking. Its desire, he notes, is to feed us “car crash after car crash after car crash.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, \u003cem>15 Minutes of Shame\u003c/em> is a documentary that, on the surface, seeks to capture our global online culture at this time and in this place. But it also contextualizes how we got here and, importantly, makes some suggestions as to how we can get better at handling it.\u003c/p>\n\u003cp>Lewinsky bookends the film with a single proposition: “Imagine waking up one morning with the whole world suddenly knowing your name.” But, at the end of the 86-minute film, she adds a question. “What kind of world do you want that to be?” You’ll have a much better idea after watching \u003cem>15 Minutes of Shame\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>‘15 Minutes of Shame’ begins streaming Thursday, Oct. 7, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bob Ross—the artist known for his calm voice, poofy hair and unflappable demeanor—spent 31 seasons gently encouraging at-home artists to pick up their palettes to paint serene landscapes and “happy little trees.”\u003c/p>\n\u003cp>Actor Melissa McCarthy and her husband, filmmaker Ben Falcone, were big fans of Ross and decided to produce a documentary about his life. But as they began working on the project with filmmakers Joshua Rofé and Steven Berger, they quickly realized their subject—and the legacy he left behind—was more complex than they knew.\u003c/p>\n\u003cp>[aside postid='arts_13867846']From the outset, the filmmakers found that very few people were willing to speak with them about Ross, for fear of litigation by the owners of his estate. McCarthy says Rofé and Berger told her they had rarely encountered such hesitancy and refusal.\u003c/p>\n\u003cp>“That was when we sort of figured out, oh, boy, this might be a little different than what we thought it was going to be,” Falcone says.\u003c/p>\n\u003cp>“When someone is an artist, no matter what their medium is … there’s a business behind it,” McCarthy says. “And I would venture to guess that business is always much more complicated than the personality that they lead with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the legal roadblocks, McCarthy and Falcone moved ahead with the film—\u003cem>Bob Ross: Happy Accidents, Betrayal & Greed \u003c/em>was released on Netflix on August 25.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6JuA4qNU30\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the success of the Bob Ross brand, past and present\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It was pretty huge and actually it continues to be so amidst the confines of a pandemic.\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>Way before we started the documentary, Ben’s mom gave us a toaster that literally burns the impression of Bob Ross into our toast because we liked him so much.\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Bob became kind of a rock star of his time … this guy who just had sort of a simple beginning, he really reached the top of a field that nobody even really knew was that much of a field. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>His range was very unusual. I can’t think of someone else that was enjoyed by people across such a wide spectrum.\u003c/p>\n\u003cp>\u003cstrong>On what they learned about Ross as a person\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> If you do a quick Google search, what you’ll know is that he was in the military. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy:\u003c/strong> He said when he left the army, that was the last time he wanted to raise his voice.\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It’s harder to know exactly what went on in this man’s life. But I was happy to find out that he was very levelheaded. He seemed like he was kind to everybody. But he also knew exactly what he wanted as an artist and what he wanted his show to be.\u003c/p>\n\u003cp>\u003cstrong>On Ross’ business partners, Annette and Walter Kowalski, who were instrumental in building up the show and the artist, and who now lead Bob Ross Inc., despite litigation with Ross’ family\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Who owns it is basically the disagreement. …\u003c/p>\n\u003cp>[aside postid='pop_34351']\u003cstrong>McCarthy:\u003c/strong> Bob certainly wanted it to go to—most of the business—to his son. He left it to his son and his brother. And very quickly, that was kind of taken through litigation. And because at the time [Bob’s son] Steve was so young, Bob thought, you know, let’s have an adult still guiding him with where he’s going to take this company. … But he didn’t get to take hold of it at all.\u003c/p>\n\u003cp>\u003cstrong>On the challenge of making a film while being worried about a lawsuit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>That was why so many people didn’t want to speak to the filmmakers. Everyone’s afraid of getting sued. So, it’s definitely challenging. … Even as we’re having this discussion with you now, we’ve been kind of warned to keep to the basics, try not to get too into it because we will get sued.\u003c/p>\n\u003cp>\u003cstrong>On how Bob Ross comes across in the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> We’ve never intended to set out and create a hit piece. We liked Bob Ross and we still do. We were surprised to uncover some of the things we uncovered. And I think the filmmakers, Josh and Steven, really did a nice job of making kind of a complicated, balanced movie out of a character that is complicated. We found out things about him that we didn’t expect. Nobody’s perfect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jonaki Mehta and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+Ross+Documentary+Filmmakers+Ran+Into+Some+Happy+Little+Legal+Hurdles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From the outset, the filmmakers found that very few people were willing to speak with them about Ross, for fear of litigation by the owners of his estate. McCarthy says Rofé and Berger told her they had rarely encountered such hesitancy and refusal.\u003c/p>\n\u003cp>“That was when we sort of figured out, oh, boy, this might be a little different than what we thought it was going to be,” Falcone says.\u003c/p>\n\u003cp>“When someone is an artist, no matter what their medium is … there’s a business behind it,” McCarthy says. “And I would venture to guess that business is always much more complicated than the personality that they lead with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the legal roadblocks, McCarthy and Falcone moved ahead with the film—\u003cem>Bob Ross: Happy Accidents, Betrayal & Greed \u003c/em>was released on Netflix on August 25.\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/J6JuA4qNU30'\n title='//www.youtube.com/embed/J6JuA4qNU30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the success of the Bob Ross brand, past and present\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It was pretty huge and actually it continues to be so amidst the confines of a pandemic.\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>Way before we started the documentary, Ben’s mom gave us a toaster that literally burns the impression of Bob Ross into our toast because we liked him so much.\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Bob became kind of a rock star of his time … this guy who just had sort of a simple beginning, he really reached the top of a field that nobody even really knew was that much of a field. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>His range was very unusual. I can’t think of someone else that was enjoyed by people across such a wide spectrum.\u003c/p>\n\u003cp>\u003cstrong>On what they learned about Ross as a person\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> If you do a quick Google search, what you’ll know is that he was in the military. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy:\u003c/strong> He said when he left the army, that was the last time he wanted to raise his voice.\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It’s harder to know exactly what went on in this man’s life. But I was happy to find out that he was very levelheaded. He seemed like he was kind to everybody. But he also knew exactly what he wanted as an artist and what he wanted his show to be.\u003c/p>\n\u003cp>\u003cstrong>On Ross’ business partners, Annette and Walter Kowalski, who were instrumental in building up the show and the artist, and who now lead Bob Ross Inc., despite litigation with Ross’ family\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Who owns it is basically the disagreement. …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>McCarthy:\u003c/strong> Bob certainly wanted it to go to—most of the business—to his son. He left it to his son and his brother. And very quickly, that was kind of taken through litigation. And because at the time [Bob’s son] Steve was so young, Bob thought, you know, let’s have an adult still guiding him with where he’s going to take this company. … But he didn’t get to take hold of it at all.\u003c/p>\n\u003cp>\u003cstrong>On the challenge of making a film while being worried about a lawsuit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>That was why so many people didn’t want to speak to the filmmakers. Everyone’s afraid of getting sued. So, it’s definitely challenging. … Even as we’re having this discussion with you now, we’ve been kind of warned to keep to the basics, try not to get too into it because we will get sued.\u003c/p>\n\u003cp>\u003cstrong>On how Bob Ross comes across in the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> We’ve never intended to set out and create a hit piece. We liked Bob Ross and we still do. We were surprised to uncover some of the things we uncovered. And I think the filmmakers, Josh and Steven, really did a nice job of making kind of a complicated, balanced movie out of a character that is complicated. We found out things about him that we didn’t expect. Nobody’s perfect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jonaki Mehta and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+Ross+Documentary+Filmmakers+Ran+Into+Some+Happy+Little+Legal+Hurdles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Everyday Heroism of Barbara Lee",
"headTitle": "Now Playing! The Everyday Heroism of Barbara Lee | KQED",
"content": "\u003cp>When East Bay filmmaker Abby Ginzberg’s latest documentary had its local premiere 13 months ago at a pandemic-shortened edition of the S.F. Jewish Film Festival, it played under the title \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em>. Ginzberg’s use of the rhyming catchphrase of the Oakland congresswoman’s constituents positioned the film as a community-centric portrait of a populist politician.\u003c/p>\n\u003cp>The film opening this Friday, Aug. 20 at the Roxie, the Shattuck and on demand has been slightly re-edited to include the subsequent election of another prominent Black woman, Vice President Kamala Harris, and carries a faintly different title: \u003cem>\u003ca href=\"https://speakingtruthtopowermovie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Barbara Lee: Speaking Truth to Power\u003c/a>\u003c/em>. I prefer the assertiveness of the original—Lee’s supporters’ vocal identification with her, and her persistent championing of her constituents are rare and precious in American public life—but perhaps it was deemed too obscure or insufficiently inviting for viewers beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13901493\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/hearing_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Barbara Lee: Speaking Truth to Power.’ \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That makes a certain sense, for one of the film’s unspoken goals is to lift Lee and her progressive policies out of the realm of local issues and accord them national status. From that standpoint, the timing of the film’s national release is perfect: Her concerns as a single mother—poverty, child care, education and health care, which have long been dismissed as women’s issues—have been exposed by the pandemic as the nation’s most pressing problems. President Biden’s American Families Plan acknowledged that reality, although it’s too early for its benefits for low-income households to be fully realized.\u003c/p>\n\u003cp>(The prolific Ginzberg released another other important documentary in 2020 spotlighting economic injustice and the working class. \u003cem>\u003ca href=\"http://wagingchange.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Waging Change\u003c/a>\u003c/em> exposed the multiple indignities endured by tipped workers, and serves as an activist bookend to \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em>.)\u003c/p>\n\u003cp>For a hot moment, Barbara Lee was a national figure after she cast the only vote in the House of Representatives against the appropriation of vast war powers to the president following 9/11. An indelible act of principle and courage that Ginzberg justly devotes an early, extended segment of her film to, it was a defining moment of Lee’s career but not her peak accomplishment. The bipartisan congressional coalition she put together to provide significant HIV/AIDS funding to Africa—and her persuasion of President George W. Bush to launch that program—likely tops the list. \u003c/p>\n\u003cfigure id=\"attachment_13901491\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/116thcongress_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Alexandria Ocasio-Cortez takes a selfie with Reps. Barbara Lee, Anne McLane Kuster and Jan Schakowsky in 2019. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> positions its subject in a continuum of congresswomen and men of color stretching from Shirley Chisholm (whose presidential campaign Lee worked on) and John Lewis (who offers several pithy comments in one of his last sit-down interviews) to Ayanna Pressley and Alexandria Ocasio-Cortez. The Black Panthers get their props, too, for demonstrating to Lee both the need for breakfast and early-education programs and the government’s abdication of its responsibility to its people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the successor to the beloved Ron Dellums, who originally brought Lee to Washington, D.C. as an intern and promoted her to his chief of staff, Barbara Lee has carved out her own legacy. Like its subject, \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> has a sense of humor and a bit of style but keeps it eye firmly on the prize.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Barbara Lee: Speaking Truth to Power’ opens Aug. 20 at the Roxie Theater in S.F. and the Shattuck Cinemas in Berkeley, and on demand. \u003ca href=\"https://speakingtruthtopowermovie.com/screenings\" 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>When East Bay filmmaker Abby Ginzberg’s latest documentary had its local premiere 13 months ago at a pandemic-shortened edition of the S.F. Jewish Film Festival, it played under the title \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em>. Ginzberg’s use of the rhyming catchphrase of the Oakland congresswoman’s constituents positioned the film as a community-centric portrait of a populist politician.\u003c/p>\n\u003cp>The film opening this Friday, Aug. 20 at the Roxie, the Shattuck and on demand has been slightly re-edited to include the subsequent election of another prominent Black woman, Vice President Kamala Harris, and carries a faintly different title: \u003cem>\u003ca href=\"https://speakingtruthtopowermovie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Barbara Lee: Speaking Truth to Power\u003c/a>\u003c/em>. I prefer the assertiveness of the original—Lee’s supporters’ vocal identification with her, and her persistent championing of her constituents are rare and precious in American public life—but perhaps it was deemed too obscure or insufficiently inviting for viewers beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13901493\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/hearing_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Barbara Lee: Speaking Truth to Power.’ \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That makes a certain sense, for one of the film’s unspoken goals is to lift Lee and her progressive policies out of the realm of local issues and accord them national status. From that standpoint, the timing of the film’s national release is perfect: Her concerns as a single mother—poverty, child care, education and health care, which have long been dismissed as women’s issues—have been exposed by the pandemic as the nation’s most pressing problems. President Biden’s American Families Plan acknowledged that reality, although it’s too early for its benefits for low-income households to be fully realized.\u003c/p>\n\u003cp>(The prolific Ginzberg released another other important documentary in 2020 spotlighting economic injustice and the working class. \u003cem>\u003ca href=\"http://wagingchange.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Waging Change\u003c/a>\u003c/em> exposed the multiple indignities endured by tipped workers, and serves as an activist bookend to \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em>.)\u003c/p>\n\u003cp>For a hot moment, Barbara Lee was a national figure after she cast the only vote in the House of Representatives against the appropriation of vast war powers to the president following 9/11. An indelible act of principle and courage that Ginzberg justly devotes an early, extended segment of her film to, it was a defining moment of Lee’s career but not her peak accomplishment. The bipartisan congressional coalition she put together to provide significant HIV/AIDS funding to Africa—and her persuasion of President George W. Bush to launch that program—likely tops the list. \u003c/p>\n\u003cfigure id=\"attachment_13901491\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/116thcongress_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Alexandria Ocasio-Cortez takes a selfie with Reps. Barbara Lee, Anne McLane Kuster and Jan Schakowsky in 2019. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> positions its subject in a continuum of congresswomen and men of color stretching from Shirley Chisholm (whose presidential campaign Lee worked on) and John Lewis (who offers several pithy comments in one of his last sit-down interviews) to Ayanna Pressley and Alexandria Ocasio-Cortez. The Black Panthers get their props, too, for demonstrating to Lee both the need for breakfast and early-education programs and the government’s abdication of its responsibility to its people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the successor to the beloved Ron Dellums, who originally brought Lee to Washington, D.C. as an intern and promoted her to his chief of staff, Barbara Lee has carved out her own legacy. Like its subject, \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> has a sense of humor and a bit of style but keeps it eye firmly on the prize.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Barbara Lee: Speaking Truth to Power’ opens Aug. 20 at the Roxie Theater in S.F. and the Shattuck Cinemas in Berkeley, and on demand. \u003ca href=\"https://speakingtruthtopowermovie.com/screenings\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren't Convinced",
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"content": "\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>[aside postid='arts_13894917']“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>[aside postid='arts_13894863']“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>[aside postid='arts_13898108']Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>[aside postid='arts_13899758']“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The most remarkable aspect of \u003cem>\u003ca href=\"https://www.netflix.com/title/81040370\" rel=\"noopener noreferrer\" target=\"_blank\">Pray Away\u003c/a>\u003c/em>, Kristine Stolakis’ valuable documentary about reparative or conversion therapy—the pseudoscientific, anti-gay practice inflicted on more than 700,000 LGBTQ+ Christians in the U.S. by Exodus International and other elements of the religious right—is the absence of rancor or fury. \u003c/p>\n\u003cp>I’ve just revealed something about my view of social-issue documentaries as a legacy of ’60s activism, and my endorsement of their implicit (and occasionally explicit) tone of righteous, moral indignation. \u003cem>Pray Away\u003c/em>, which was completed a year ago and debuted this week on Netflix, reveals a lot about the post-ACT-UP generation of filmmakers, who view the LGBTQ+ civil rights movement less as a finite campaign with victories and setbacks than as a continuum of evolving attitudes.\u003c/p>\n\u003cp>Evolving attitudes is both the currency and promise of the film, which toggles between the present and the past to recount the journeys of several former star spokespeople of the evangelical gay-to-straight crusade. Most left the so-called movement a good long while ago, so although their struggles are vivid they aren’t, by and large, immediate. Plenty of filmmakers finesse and manipulate time for maximum dramatic effect, but to her credit, Stolakis, a graduate of Stanford’s vaunted MFA documentary program who made several shorts and \u003cem>Pray Away\u003c/em> in the Bay Area before relocating to New York during the pandemic, doesn’t contrive climaxes and catharses out of years-old life changes.\u003c/p>\n\u003cp>Exodus co-founder Michael Bussee shows up as a powerful witness, as does baby-faced John Paulk, who was booked so frequently on TV with his ex-lesbian wife that he became (in his words) “the most famous ex-gay person in the world.” He recounts that “high point” with a mix of lingering pride and embarrassment that, in one short sentence, suggests the ongoing conversation—or negotiation—between identity, faith and sexuality that troubles so many people.\u003c/p>\n\u003cfigure id=\"attachment_13900792\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13900792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rodgers (in white, center) in ‘Pray Away,’ 2021. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No doubt some view Bussee and Paulk as perpetrators who did enormous harm to others, rather than as victims. So Stolakis constructs her film around Julie Rodgers, whose just-published memoir \u003cem>Outlove: A Queer Christian Survival Story\u003c/em> recounts her saga of exploitation, self-loathing and self-harm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stolakis made another important structural decision, one with important thematic implications. The very first person we meet in \u003cem>Pray Away\u003c/em> is Jeffrey McCall, a next-generation, Georgia-based, street- and internet-focused “ex-gay” man picking up where the now-defunct Exodus left off. Stolakis also ends her film with him, pointedly reminding us—without mocking or denigrating McCall, a true believer—that religious intolerance of homosexuality persists.\u003c/p>\n\u003cp>\u003cem>Pray Away\u003c/em> skillfully leaves us with a clear question: Will McCall’s journey mirror Bussee and Paulk’s? The achievement of this film doesn’t live in its accumulated anecdotal histories but in its acknowledgement of the LGBTQ+ people who grapple with sexuality and faith every day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Pray Away’ is now streaming on Netflix. \u003ca href=\"https://www.netflix.com/title/81040370\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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