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"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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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. 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The bipartisan congressional coalition she put together to provide significant HIV/AIDS funding to Africa—and her persuasion of President George W. 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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>“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>\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>\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\u003c/div>\u003c/p>",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Billy Tipton was an \u003ca href=\"https://www.youtube.com/watch?v=f3JAAxFYEws\" target=\"_blank\" rel=\"noopener noreferrer\">accomplished jazz musician\u003c/a> and talent agent, a dedicated husband, and a father of three adopted sons. It was only after he died in 1989, at the age of 74, that his family, friends and fans found out that he had lived in a female body. The public outing that Tipton was subjected to after his death resulted in his being both publicly misgendered \u003cem>and\u003c/em> mis-characterized as a liar; his musical legacy was overshadowed by tabloid trash talk.\u003c/p>\n\u003cp>Now, a new documentary written by \u003ca href=\"https://originalplumbing.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Original Plumbing\u003c/em>\u003c/a> co-founder \u003ca href=\"https://twitter.com/theamosmac\" target=\"_blank\" rel=\"noopener noreferrer\">Amos Mac\u003c/a> and \u003ca href=\"https://twitter.com/spectraversa\" target=\"_blank\" rel=\"noopener noreferrer\">Aisling Chin-Yee\u003c/a>—who co-directed the film with \u003ca href=\"https://www.chasejoynt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Joynt\u003c/a>—seeks to undo that damage. And oh, how beautifully it succeeds. \u003cem>No Ordinary Man\u003c/em> is a moving and consistently thought-provoking tribute to an individual who lived as authentically and boldly as he could, at a time when trans men weren’t only without medical recourse, but weren’t even supposed to exist. “It’s scary,” Zackary Drucker poignantly notes in the film, “when centuries of your survival have been based on not being seen.”\u003c/p>\n\u003cp>https://youtu.be/sLS-Fq8Cbxw\u003c/p>\n\u003cp>Tipton’s life is explored in some depth, including his greatest triumphs—such as playing with jazz legends like Duke Ellington—and painful tragedies. Most devastatingly, Tipton refused to seek medical treatment for the ulcer that ultimately killed him, no doubt fearful of being discovered. His 18-year marriage to Kitty Kelly was also without physical intimacy—Tipton told Kelly that a car crash had left the lower half of his body gravely and permanently injured.\u003c/p>\n\u003cp>What makes \u003cem>No Ordinary Man\u003c/em> truly extraordinary, however, is the way in which it uses Tipton’s story to explore the experiences of all trans men. It probes issues around identity, sexuality and a culture that has historically either erased trans men, or else treated them as an aberration. It analyzes the importance of media representation. And it even examines the inhumane medical neglect that, until fairly recently, trans people were consistently subjected to. (“Trans people going into emergency rooms in the late 1980s,” Jamison Green explains, “were told, ‘We don’t treat people like you. We don’t understand your body.’”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the most impactful methods \u003cem>No Ordinary Man\u003c/em> employs to explore the lived trans-masculine experience is through scenes in which real-life actors audition to play Billy. The pathos that some of them—particularly the exceptional \u003ca href=\"https://www.imdb.com/name/nm9383000/\" target=\"_blank\" rel=\"noopener noreferrer\">Marquise Vilsón\u003c/a>—bring to scenes from Billy’s life elevate our understanding of the knife-edge Tipton must have lived on during his 55 years of “passing.” In Vilsón’s hands, for example, a simple scene in which Tipton prepares to meet Duke Ellington is transformed into an anxiety-laden edge-of-seat moment. Another, in which Tipton unexpectedly meets an out trans man for the first time, becomes quietly devastating.\u003c/p>\n\u003cp>At one point, Vilsón effectively sums up why these audition scenes are so important. “The casting process looks like as many different versions and variations of transness walking into a casting director’s office,” he says. “There are so few accounts of us having access to history that belongs to us, that is being created by us, that is being curated by us, that allows our voice and our vision to be part of the process.”\u003c/p>\n\u003cp>[aside postid='arts_13870056']Also part of the process here is Billy Tipton Jr.—a man you can practically see healing on screen as he finally finds out his dad is a hero to countless others. At the end of his father’s life, Tipton Jr. was hurt and frustrated by his dad’s unwillingness to see a doctor. He acted as a caretaker and was present at Tipton’s death. And in the aftermath, he was caught up in a media sensationalism that swept him onto several prominent daytime talk shows. \u003cem>No Ordinary Man\u003c/em> seems to offer Tipton Jr. a new understanding of all that his father achieved in life and how much he is still respected for it. His shock and relief is palpable.\u003c/p>\n\u003cp>In just 84 minutes, \u003cem>No Ordinary Man\u003c/em> does so much more than introduce us to the “consummate professional” and “gentleman’s gentleman” that was Billy Tipton. It draws a figurative line in the sand and demands that we never again ignore or erase transgender people from our national identity. “Trans men have not existed in the cultural imagination at all really,” Thomas Page McBee says at one point. “So the idea of now having this process of looking back and trying to figure out what our lineage is, it makes a lot of sense to be looking at these sorts of stories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Ordinary Man’ is playing at the \u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, and \u003ca href=\"https://www.landmarktheatres.com/san-francisco-east-bay/shattuck-cinemas/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, through Aug. 5.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billy Tipton was an \u003ca href=\"https://www.youtube.com/watch?v=f3JAAxFYEws\" target=\"_blank\" rel=\"noopener noreferrer\">accomplished jazz musician\u003c/a> and talent agent, a dedicated husband, and a father of three adopted sons. It was only after he died in 1989, at the age of 74, that his family, friends and fans found out that he had lived in a female body. The public outing that Tipton was subjected to after his death resulted in his being both publicly misgendered \u003cem>and\u003c/em> mis-characterized as a liar; his musical legacy was overshadowed by tabloid trash talk.\u003c/p>\n\u003cp>Now, a new documentary written by \u003ca href=\"https://originalplumbing.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Original Plumbing\u003c/em>\u003c/a> co-founder \u003ca href=\"https://twitter.com/theamosmac\" target=\"_blank\" rel=\"noopener noreferrer\">Amos Mac\u003c/a> and \u003ca href=\"https://twitter.com/spectraversa\" target=\"_blank\" rel=\"noopener noreferrer\">Aisling Chin-Yee\u003c/a>—who co-directed the film with \u003ca href=\"https://www.chasejoynt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Joynt\u003c/a>—seeks to undo that damage. And oh, how beautifully it succeeds. \u003cem>No Ordinary Man\u003c/em> is a moving and consistently thought-provoking tribute to an individual who lived as authentically and boldly as he could, at a time when trans men weren’t only without medical recourse, but weren’t even supposed to exist. “It’s scary,” Zackary Drucker poignantly notes in the film, “when centuries of your survival have been based on not being seen.”\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/sLS-Fq8Cbxw'\n title='//www.youtube.com/embed/sLS-Fq8Cbxw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tipton’s life is explored in some depth, including his greatest triumphs—such as playing with jazz legends like Duke Ellington—and painful tragedies. Most devastatingly, Tipton refused to seek medical treatment for the ulcer that ultimately killed him, no doubt fearful of being discovered. His 18-year marriage to Kitty Kelly was also without physical intimacy—Tipton told Kelly that a car crash had left the lower half of his body gravely and permanently injured.\u003c/p>\n\u003cp>What makes \u003cem>No Ordinary Man\u003c/em> truly extraordinary, however, is the way in which it uses Tipton’s story to explore the experiences of all trans men. It probes issues around identity, sexuality and a culture that has historically either erased trans men, or else treated them as an aberration. It analyzes the importance of media representation. And it even examines the inhumane medical neglect that, until fairly recently, trans people were consistently subjected to. (“Trans people going into emergency rooms in the late 1980s,” Jamison Green explains, “were told, ‘We don’t treat people like you. We don’t understand your body.’”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the most impactful methods \u003cem>No Ordinary Man\u003c/em> employs to explore the lived trans-masculine experience is through scenes in which real-life actors audition to play Billy. The pathos that some of them—particularly the exceptional \u003ca href=\"https://www.imdb.com/name/nm9383000/\" target=\"_blank\" rel=\"noopener noreferrer\">Marquise Vilsón\u003c/a>—bring to scenes from Billy’s life elevate our understanding of the knife-edge Tipton must have lived on during his 55 years of “passing.” In Vilsón’s hands, for example, a simple scene in which Tipton prepares to meet Duke Ellington is transformed into an anxiety-laden edge-of-seat moment. Another, in which Tipton unexpectedly meets an out trans man for the first time, becomes quietly devastating.\u003c/p>\n\u003cp>At one point, Vilsón effectively sums up why these audition scenes are so important. “The casting process looks like as many different versions and variations of transness walking into a casting director’s office,” he says. “There are so few accounts of us having access to history that belongs to us, that is being created by us, that is being curated by us, that allows our voice and our vision to be part of the process.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also part of the process here is Billy Tipton Jr.—a man you can practically see healing on screen as he finally finds out his dad is a hero to countless others. At the end of his father’s life, Tipton Jr. was hurt and frustrated by his dad’s unwillingness to see a doctor. He acted as a caretaker and was present at Tipton’s death. And in the aftermath, he was caught up in a media sensationalism that swept him onto several prominent daytime talk shows. \u003cem>No Ordinary Man\u003c/em> seems to offer Tipton Jr. a new understanding of all that his father achieved in life and how much he is still respected for it. His shock and relief is palpable.\u003c/p>\n\u003cp>In just 84 minutes, \u003cem>No Ordinary Man\u003c/em> does so much more than introduce us to the “consummate professional” and “gentleman’s gentleman” that was Billy Tipton. It draws a figurative line in the sand and demands that we never again ignore or erase transgender people from our national identity. “Trans men have not existed in the cultural imagination at all really,” Thomas Page McBee says at one point. “So the idea of now having this process of looking back and trying to figure out what our lineage is, it makes a lot of sense to be looking at these sorts of stories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Ordinary Man’ is playing at the \u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, and \u003ca href=\"https://www.landmarktheatres.com/san-francisco-east-bay/shattuck-cinemas/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, through Aug. 5.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“We can have a documentary-ethics panel about it later,” joked Morgan Neville, director of the new Anthony Bourdain documentary \u003cem>Roadrunner, \u003c/em>as he revealed to \u003ca href=\"https://www.newyorker.com/culture/annals-of-gastronomy/the-haunting-afterlife-of-anthony-bourdain\">The New Yorker\u003c/a> that three lines in his movie — which sounded like they were being delivered by the late chef-turned-media personality — were actually generated by AI.\u003c/p>\n\u003cp>Well, later has arrived.\u003c/p>\n\u003cp>https://twitter.com/SeanMBurns/status/1415680029132869644\u003c/p>\n\u003cp>The film uses a variety of clips from Bourdain’s wide back catalog of TV shows, radio and podcast appearances, and audiobook recordings. By design, Neville wanted the AI generated voice overs to blend in with those recordings, so audience members would never know the difference. Critics, like Sean M. Burns, found the technique duplicitous, tweeting “I feel like this tells you all you need to know about the ethics of the people behind this project.”\u003c/p>\n\u003cp>The writer of the original \u003cem>New Yorker\u003c/em> piece, Helen Rosner\u003cem>, \u003c/em>had a more\u003ca href=\"https://twitter.com/hels/status/1415773948269277190\"> gracious read of the situation\u003c/a>, calling the use of expansive storytelling techniques “entirely consistent with how Bourdain worked.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13899963' \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">label=\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">'More on the Bourdain Doc']\u003c/span>Writer and critic Jason Sheehan, \u003ca href=\"https://www.npr.org/2021/07/16/1016533992/anthony-bourdain-roadrunner-documentary-review\">who reviewed \u003cem>Roadrunner\u003c/em> for NPR\u003c/a> before its use of AI became public, says he isn’t entirely sure how to feel. “I mean, is it all that different than Ken Burns having Sam Waterston read Abraham Lincoln’s letters in his Civil War documentary? Neville claims that he used Bourdain’s own words — things that he’d written or said that just didn’t exist on tape — and that matters,” Sheehan says. “If Burns had asked Waterston to make Lincoln say how much he loved the new Subaru Outback, then sure. That’s a problem. But this isn’t that. This is the (admittedly queasy) choice to bring back to life the voice of a dead guy, and make that voice speak words that already existed in another form. Is it creepy, knowing about it now? Absolutely. Was it wrong? I don’t think so. But these things are decided in public. It’ll get hashed out on social media and in spaces like this. And then we’ll move on, all of us having been forced to briefly consider the possibility of an endless zombie future where nothing we’ve ever said or written ever really goes away.”\u003c/p>\n\u003cp>In response to some of the criticism he was getting, Neville responded, \u003ca href=\"https://variety.com/2021/artisans/news/anthony-bourdain-fake-voice-roadrunner-documentary-backlash-1235020878/\">saying to Variety\u003c/a> that “There were a few sentences that Tony wrote that he never spoke aloud. With the blessing of his estate and literary agent we used AI technology. It was a modern storytelling technique that I used in a few places where I thought it was important to make Tony’s words come alive.”\u003c/p>\n\u003cp>https://twitter.com/OttaviaBourdain/status/1415889455005716485\u003c/p>\n\u003cp>Though Bourdain’s ex-wife Ottavia Bourdain \u003ca href=\"https://twitter.com/OttaviaBourdain/status/1415889455005716485\">later tweeted\u003c/a> “I certainly was NOT the one who said Tony would have been cool with that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is this all ethically squirrelly or is it an interesting use of voice and technology? Does this information feel unsettling because someone did something bad, or have we just not yet acquiesced ourselves to the new reality of deepfakes? Is it even Neville’s duty to adhere to the strict truth of things? Are people particularly invested in this instance because of their parasocial relationship with Bourdain as a media identity, instead of the flawed, idiosyncratic figure the movie paints him as? All are worthwhile questions — bring them to the panel.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org/2021/07/16/1016838440/ai-brought-anthony-bourdains-voice-back-to-life-should-it-have\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=AI+Brought+Anthony+Bourdain%27s+Voice+Back+To+Life.+Should+It+Have%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Writer and critic Jason Sheehan, \u003ca href=\"https://www.npr.org/2021/07/16/1016533992/anthony-bourdain-roadrunner-documentary-review\">who reviewed \u003cem>Roadrunner\u003c/em> for NPR\u003c/a> before its use of AI became public, says he isn’t entirely sure how to feel. “I mean, is it all that different than Ken Burns having Sam Waterston read Abraham Lincoln’s letters in his Civil War documentary? Neville claims that he used Bourdain’s own words — things that he’d written or said that just didn’t exist on tape — and that matters,” Sheehan says. “If Burns had asked Waterston to make Lincoln say how much he loved the new Subaru Outback, then sure. That’s a problem. But this isn’t that. This is the (admittedly queasy) choice to bring back to life the voice of a dead guy, and make that voice speak words that already existed in another form. Is it creepy, knowing about it now? Absolutely. Was it wrong? I don’t think so. But these things are decided in public. It’ll get hashed out on social media and in spaces like this. And then we’ll move on, all of us having been forced to briefly consider the possibility of an endless zombie future where nothing we’ve ever said or written ever really goes away.”\u003c/p>\n\u003cp>In response to some of the criticism he was getting, Neville responded, \u003ca href=\"https://variety.com/2021/artisans/news/anthony-bourdain-fake-voice-roadrunner-documentary-backlash-1235020878/\">saying to Variety\u003c/a> that “There were a few sentences that Tony wrote that he never spoke aloud. With the blessing of his estate and literary agent we used AI technology. It was a modern storytelling technique that I used in a few places where I thought it was important to make Tony’s words come alive.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Though Bourdain’s ex-wife Ottavia Bourdain \u003ca href=\"https://twitter.com/OttaviaBourdain/status/1415889455005716485\">later tweeted\u003c/a> “I certainly was NOT the one who said Tony would have been cool with that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is this all ethically squirrelly or is it an interesting use of voice and technology? Does this information feel unsettling because someone did something bad, or have we just not yet acquiesced ourselves to the new reality of deepfakes? Is it even Neville’s duty to adhere to the strict truth of things? Are people particularly invested in this instance because of their parasocial relationship with Bourdain as a media identity, instead of the flawed, idiosyncratic figure the movie paints him as? All are worthwhile questions — bring them to the panel.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org/2021/07/16/1016838440/ai-brought-anthony-bourdains-voice-back-to-life-should-it-have\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=AI+Brought+Anthony+Bourdain%27s+Voice+Back+To+Life.+Should+It+Have%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Anthony Bourdain Doc ‘Roadrunner’ Runs on Fumes",
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"content": "\u003cp>Anthony Bourdain was an accidental star, if we believe Morgan Neville’s scattershot, superficial and, eventually, lugubrious documentary \u003cem>\u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Roadrunner: A Film about Anthony Bourdain\u003c/a>\u003c/em>. A drug user who studied and graduated from line cook to chef, Bourdain was signed by a literary agent based on an off-the-cuff Tokyo travelogue he emailed to a friend. When \u003cem>Kitchen Confidential\u003c/em> became a surprise bestseller in 2000, a couple of newlywed producers enlisted its author for a food/travel show.\u003c/p>\n\u003cp>Bourdain was in his mid-40s, long-married to high school girlfriend Nancy Putkoski and entrenched in the high-pressure, low-margin, long-hours lifestyle of the Manhattan restaurant world. The implications and complications of massive mid-life success strike me as a rich subject—and a natural one for the prolific director of klieg-light subjects like \u003cem>20 Feet From Stardom\u003c/em> and \u003cem>Won’t You Be My Neighbor?\u003c/em>, about TV’s Fred Rogers—but Neville leapfrogs from Bourdain’s anonymity to his celebrity, glossing over the transition and the transformation. (Putkoski’s absence from the film suggests she chose not to participate all these years after their 2005 divorce, but her perspective is greatly missed.)\u003c/p>\n\u003cfigure id=\"attachment_13899978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bourdain in a still from ‘Roadrunner,’ 2021. \u003ccite>(Dmitri Kasterine / Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bourdain wrote more books and articles, but he achieved household-name status from his various television series. An aggressively gregarious and winsomely introspective New Yorker, his Everyman quality and gravelly honesty made him a beloved, not just popular, TV character. When he died by suicide in 2016 in France, where he was shooting an episode of the Emmy Award-winning CNN series, \u003ci>Anthony Bourdain: Parts Unknown\u003c/i>, he shocked his audience and stunned his friends.\u003c/p>\n\u003cp>\u003cem>Roadrunner\u003c/em> presents itself as a search for a seeker, but it isn’t interested in the power of success or the foibles of fame. Late in the proceedings it becomes about the elusiveness of happiness, but by then the film wears on even the most sympathetic viewer’s last nerve. The more time we spend with Bourdain, you see, the less unique, substantial and consequential he becomes. Like most stars who shine and flicker on our screens, whatever was compelling about him made its way into, and was maximized or exploited by, his snappily shot and edited vehicles. There’s nothing else to mine.\u003c/p>\n\u003cfigure id=\"attachment_13899979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Chang and Anthony Bourdain in ‘Roadrunner,’ 2021. \u003ccite>(Focus Features, in association with Zero Point Zero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbie Robertson of The Band acknowledged the toll the road takes in \u003cem>The Last Waltz\u003c/em> (1978), and perhaps the wear and tear, in cahoots with his latent self-destructiveness, burned Bourdain out. Still, a talented filmmaker could frame Bourdain’s charismatic, adrenaline-fueled, camera-saturated career as a touching and instructive case study of the potholes and pitfalls of reconciling one’s public life with one’s private life. With millions of people cultivating and tending their personas on social media, that’s no longer just the concern of A-list stars. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Documentaries are typically made in the editing room, and frequently they are found there: the themes, structure and even the story. Morgan Neville never found his film—\u003cem>Roadrunner\u003c/em> has no center, no overriding theme, no thrust beyond its frenetic editing—yet he spins his wheels for nearly two hours. Most egregious are the clips of films from \u003cem>Apocalypse Now\u003c/em> to \u003cem>The Seventh Seal\u003c/em> peddling the idea that Bourdain was heavily influenced by the movies.\u003c/p>\n\u003cp>Backed by CNN Films, \u003cem>Roadrunner\u003c/em> will wind up on the network where \u003ci>Parts Unknown\u003c/i> aired. To put it bluntly, its raison d’être is that its subject was a television celebrity. What’s much less forgivable is Neville’s pointless, perfunctory appropriation of the song “\u003ca href=\"https://youtu.be/g4myghLPLZc\" rel=\"noopener noreferrer\" target=\"_blank\">Marquee Moon\u003c/a>,” Television’s witty nocturnal anthem of youthful existentialism. That’s when the red light on the dashboard went on for me, even if \u003cem>Roadrunner\u003c/em> didn’t run out of gas until a little while later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roadrunner’ opens Friday, July 16 in Bay Area theaters. \u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Bourdain was an accidental star, if we believe Morgan Neville’s scattershot, superficial and, eventually, lugubrious documentary \u003cem>\u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Roadrunner: A Film about Anthony Bourdain\u003c/a>\u003c/em>. A drug user who studied and graduated from line cook to chef, Bourdain was signed by a literary agent based on an off-the-cuff Tokyo travelogue he emailed to a friend. When \u003cem>Kitchen Confidential\u003c/em> became a surprise bestseller in 2000, a couple of newlywed producers enlisted its author for a food/travel show.\u003c/p>\n\u003cp>Bourdain was in his mid-40s, long-married to high school girlfriend Nancy Putkoski and entrenched in the high-pressure, low-margin, long-hours lifestyle of the Manhattan restaurant world. The implications and complications of massive mid-life success strike me as a rich subject—and a natural one for the prolific director of klieg-light subjects like \u003cem>20 Feet From Stardom\u003c/em> and \u003cem>Won’t You Be My Neighbor?\u003c/em>, about TV’s Fred Rogers—but Neville leapfrogs from Bourdain’s anonymity to his celebrity, glossing over the transition and the transformation. (Putkoski’s absence from the film suggests she chose not to participate all these years after their 2005 divorce, but her perspective is greatly missed.)\u003c/p>\n\u003cfigure id=\"attachment_13899978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00081_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bourdain in a still from ‘Roadrunner,’ 2021. \u003ccite>(Dmitri Kasterine / Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bourdain wrote more books and articles, but he achieved household-name status from his various television series. An aggressively gregarious and winsomely introspective New Yorker, his Everyman quality and gravelly honesty made him a beloved, not just popular, TV character. When he died by suicide in 2016 in France, where he was shooting an episode of the Emmy Award-winning CNN series, \u003ci>Anthony Bourdain: Parts Unknown\u003c/i>, he shocked his audience and stunned his friends.\u003c/p>\n\u003cp>\u003cem>Roadrunner\u003c/em> presents itself as a search for a seeker, but it isn’t interested in the power of success or the foibles of fame. Late in the proceedings it becomes about the elusiveness of happiness, but by then the film wears on even the most sympathetic viewer’s last nerve. The more time we spend with Bourdain, you see, the less unique, substantial and consequential he becomes. Like most stars who shine and flicker on our screens, whatever was compelling about him made its way into, and was maximized or exploited by, his snappily shot and edited vehicles. There’s nothing else to mine.\u003c/p>\n\u003cfigure id=\"attachment_13899979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RR_FP_00312_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Chang and Anthony Bourdain in ‘Roadrunner,’ 2021. \u003ccite>(Focus Features, in association with Zero Point Zero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbie Robertson of The Band acknowledged the toll the road takes in \u003cem>The Last Waltz\u003c/em> (1978), and perhaps the wear and tear, in cahoots with his latent self-destructiveness, burned Bourdain out. Still, a talented filmmaker could frame Bourdain’s charismatic, adrenaline-fueled, camera-saturated career as a touching and instructive case study of the potholes and pitfalls of reconciling one’s public life with one’s private life. With millions of people cultivating and tending their personas on social media, that’s no longer just the concern of A-list stars. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Documentaries are typically made in the editing room, and frequently they are found there: the themes, structure and even the story. Morgan Neville never found his film—\u003cem>Roadrunner\u003c/em> has no center, no overriding theme, no thrust beyond its frenetic editing—yet he spins his wheels for nearly two hours. Most egregious are the clips of films from \u003cem>Apocalypse Now\u003c/em> to \u003cem>The Seventh Seal\u003c/em> peddling the idea that Bourdain was heavily influenced by the movies.\u003c/p>\n\u003cp>Backed by CNN Films, \u003cem>Roadrunner\u003c/em> will wind up on the network where \u003ci>Parts Unknown\u003c/i> aired. To put it bluntly, its raison d’être is that its subject was a television celebrity. What’s much less forgivable is Neville’s pointless, perfunctory appropriation of the song “\u003ca href=\"https://youtu.be/g4myghLPLZc\" rel=\"noopener noreferrer\" target=\"_blank\">Marquee Moon\u003c/a>,” Television’s witty nocturnal anthem of youthful existentialism. That’s when the red light on the dashboard went on for me, even if \u003cem>Roadrunner\u003c/em> didn’t run out of gas until a little while later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Roadrunner’ opens Friday, July 16 in Bay Area theaters. \u003ca href=\"https://www.focusfeatures.com/roadrunner\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! ‘The Neutral Ground’ Quells Rebel Yells",
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"content": "\u003cp>Humor has the capacity to disarm, CJ Hunt discovered in his stints as a middle-school teacher and stand-up comic. It’s part of his toolkit as a producer on \u003ci>The Daily Show with Trevor Noah\u003c/i>. But are irony, dry wit and self-mockery effective ways of turning a mirror on racists and Confederate sympathizers, and shifting their thinking?\u003c/p>\n\u003cp>That’s the starting point of \u003cem>\u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">The Neutral Ground\u003c/a>\u003c/em>, Hunt’s informative, entertaining, provocative and sobering contribution to the debate around Civil War monuments. The season opener of PBS’ long-running \u003ci>POV\u003c/i> series, \u003cem>The Neutral Ground\u003c/em> airs Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4.\u003c/p>\n\u003cp>The documentary opens with a bevy of impassioned public comments at a 2015 New Orleans city council meeting, culminating with a vote to remove four Confederate statues. Hunt is wryly skeptical of the pro-monument arguments—“This is our history” and “The Civil War was about states’ rights”—and dispenses some good-natured mockery before digging into the archives for documents in which the leading lights of the Confederacy declare the preservation of slavery as their primary objective.\u003c/p>\n\u003cfigure id=\"attachment_13899788\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Right-wing extremists protest the removal of a Confederate monument in ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time that Hunt positions \u003cem>The Neutral Ground\u003c/em> as both a present-day reconnaissance and a research project, our Black and Filipino guide frames it as a personal journey. But those roots aren’t stereotypically heroic: His father, a Black teacher, reminds Hunt that he had to prod him numerous times growing up before he acknowledged and confronted the reality and legacy of his Black identity.\u003c/p>\n\u003cp>This straight-talk conversation is designed to cast Hunt as an inquisitive everyman rather than an agenda-driven investigator, though it isn’t likely to fool many viewers. It works on a white-whiskered good ol’ boy whom Hunt accompanies to, and through, a full-dress Civil War battle reenactment—until Hunt presents our Southern man with an invitation to visit the Whitney Plantation, a recently opened Louisiana museum about the history of slavery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The subtext of \u003cem>The Neutral Ground\u003c/em> is the way in which the Black experience—of slavery, of post-Reconstruction, of Jim Crow, of contemporary police violence, of the latent racism championed by the twice-impeached previous president—is continually ignored, denied and/or literally whitewashed. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" rel=\"noopener noreferrer\" target=\"_blank\">Summer of Soul\u003c/a>\u003c/em>, Questlove’s dense, intense and essential documentary about the pivotal-yet-underrated Harlem Cultural Festival of 1969, hits that note as well.[aside postID='arts_13899714']\u003c/p>\n\u003cp>While vignettes and one-liners stick in a viewer’s memory, factual information is arguably the most valuable part of documentaries like \u003cem>The Neutral Ground\u003c/em>. Hunt exposes the roots of the Lost Cause fairy tale as a feel-good sop to the widows and mothers of Confederate casualties (hence the preponderance of monuments in cemeteries) and as a reassertion of white power once federal officials departed after Reconstruction (bluntly expressed by the placement of statues of Jefferson Davis, et al. adjacent to courthouses and other government buildings).\u003c/p>\n\u003cfigure id=\"attachment_13899789\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Robert E. Lee monument removal in New Orleans, a scene from ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the course of destroying the monument-defenders’ selective and disingenuous arguments—the type of arguments that have become hallmark of the modern Right—Hunt reveals what makes them so hard to combat. From TV-studio propagandists to hate-fueled foot soldiers, those in support of Confederate symbols have a weasel-like propensity to effortlessly segue from aggrieved victims to mob-backed intimidators. \u003c/p>\n\u003cp>For those who need a couple seconds to ford the gulf between Southern myths and factual history, Hunt provides Karen Elson’s haunting recording of “Dixie” with the Secret Sisters. Bringing it all back home at the end of the film, New Orleans native Tarriona “Tank” Ball delivers her version of the erstwhile battle hymn.\u003c/p>\n\u003cp>But before Hunt winds up where he began, he visits Charlottesville during the August 2017 Unite the Right rally where Heather Heyer was killed. The jokes and sight gags have been dwindling for a while, but irreverence gives way to terror in Virginia. There’s nothing funny about 21st-century white supremacists. \u003c/p>\n\u003cp>With that sequence, Hunt demolishes another beloved fallacy about the Civil War and its various legacies: There is no neutral ground.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Neutral Ground’ airs on ‘POV’ Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4. \u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Humor has the capacity to disarm, CJ Hunt discovered in his stints as a middle-school teacher and stand-up comic. It’s part of his toolkit as a producer on \u003ci>The Daily Show with Trevor Noah\u003c/i>. But are irony, dry wit and self-mockery effective ways of turning a mirror on racists and Confederate sympathizers, and shifting their thinking?\u003c/p>\n\u003cp>That’s the starting point of \u003cem>\u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">The Neutral Ground\u003c/a>\u003c/em>, Hunt’s informative, entertaining, provocative and sobering contribution to the debate around Civil War monuments. The season opener of PBS’ long-running \u003ci>POV\u003c/i> series, \u003cem>The Neutral Ground\u003c/em> airs Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4.\u003c/p>\n\u003cp>The documentary opens with a bevy of impassioned public comments at a 2015 New Orleans city council meeting, culminating with a vote to remove four Confederate statues. Hunt is wryly skeptical of the pro-monument arguments—“This is our history” and “The Civil War was about states’ rights”—and dispenses some good-natured mockery before digging into the archives for documents in which the leading lights of the Confederacy declare the preservation of slavery as their primary objective.\u003c/p>\n\u003cfigure id=\"attachment_13899788\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-22-1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Right-wing extremists protest the removal of a Confederate monument in ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time that Hunt positions \u003cem>The Neutral Ground\u003c/em> as both a present-day reconnaissance and a research project, our Black and Filipino guide frames it as a personal journey. But those roots aren’t stereotypically heroic: His father, a Black teacher, reminds Hunt that he had to prod him numerous times growing up before he acknowledged and confronted the reality and legacy of his Black identity.\u003c/p>\n\u003cp>This straight-talk conversation is designed to cast Hunt as an inquisitive everyman rather than an agenda-driven investigator, though it isn’t likely to fool many viewers. It works on a white-whiskered good ol’ boy whom Hunt accompanies to, and through, a full-dress Civil War battle reenactment—until Hunt presents our Southern man with an invitation to visit the Whitney Plantation, a recently opened Louisiana museum about the history of slavery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The subtext of \u003cem>The Neutral Ground\u003c/em> is the way in which the Black experience—of slavery, of post-Reconstruction, of Jim Crow, of contemporary police violence, of the latent racism championed by the twice-impeached previous president—is continually ignored, denied and/or literally whitewashed. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" rel=\"noopener noreferrer\" target=\"_blank\">Summer of Soul\u003c/a>\u003c/em>, Questlove’s dense, intense and essential documentary about the pivotal-yet-underrated Harlem Cultural Festival of 1969, hits that note as well.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While vignettes and one-liners stick in a viewer’s memory, factual information is arguably the most valuable part of documentaries like \u003cem>The Neutral Ground\u003c/em>. Hunt exposes the roots of the Lost Cause fairy tale as a feel-good sop to the widows and mothers of Confederate casualties (hence the preponderance of monuments in cemeteries) and as a reassertion of white power once federal officials departed after Reconstruction (bluntly expressed by the placement of statues of Jefferson Davis, et al. adjacent to courthouses and other government buildings).\u003c/p>\n\u003cfigure id=\"attachment_13899789\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13899789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/NG-PublicityStills2020-30-3_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Robert E. Lee monument removal in New Orleans, a scene from ‘The Neutral Ground.’ \u003ccite>(Paavo Hanninen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the course of destroying the monument-defenders’ selective and disingenuous arguments—the type of arguments that have become hallmark of the modern Right—Hunt reveals what makes them so hard to combat. From TV-studio propagandists to hate-fueled foot soldiers, those in support of Confederate symbols have a weasel-like propensity to effortlessly segue from aggrieved victims to mob-backed intimidators. \u003c/p>\n\u003cp>For those who need a couple seconds to ford the gulf between Southern myths and factual history, Hunt provides Karen Elson’s haunting recording of “Dixie” with the Secret Sisters. Bringing it all back home at the end of the film, New Orleans native Tarriona “Tank” Ball delivers her version of the erstwhile battle hymn.\u003c/p>\n\u003cp>But before Hunt winds up where he began, he visits Charlottesville during the August 2017 Unite the Right rally where Heather Heyer was killed. The jokes and sight gags have been dwindling for a while, but irreverence gives way to terror in Virginia. There’s nothing funny about 21st-century white supremacists. \u003c/p>\n\u003cp>With that sequence, Hunt demolishes another beloved fallacy about the Civil War and its various legacies: There is no neutral ground.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Neutral Ground’ airs on ‘POV’ Monday, July 5 at 9:30pm on KQED and streams online through Aug. 4. \u003ca href=\"https://www.amdoc.org/watch/neutralground/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock",
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"content": "\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-siC9cugqA\u003c/p>\n\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>[aside postid='arts_13889915']“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\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=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Q: Into the Storm’ Director Unravels the Twisted Knots of the QAnon Movement | KQED",
"content": "\u003cp>The insurrection at the U.S. Capitol on Jan. 6 was predictable if you were following message boards on shadowy corners of the internet.\u003c/p>\n\u003cp>“Yeah, I thought Jan. 6 was going to be really bad,” Cullen Hoback, director of the documentary \u003cem>Q: Into the Storm, \u003c/em>told NPR in a recent interview. “I got hardly any sleep the two nights before it. I was very anxious going into that day.”\u003c/p>\n\u003cp>Hoback followed the growth of the QAnon movement for three years and unravels the twisted knots of the conspiracy theory in a six-part series on HBO. He focuses on the interpersonal drama between those behind the website 8chan (later 8kun), where an enigmatic “Q” posted false conspiracy theories that convinced millions there were nefarious Democratic actors involved in child-trafficking rings.\u003c/p>\n\u003cp>[aside postid='arts_13890913']Spurred on by former President Donald Trump’s false allegations of widespread fraud in the 2020 election that he lost to President Biden, many Q believers were among a larger group of anti-government extremists who stormed the Capitol on Jan. 6 in protest of the usually ceremonial counting of Electoral College votes affirming the election result.\u003c/p>\n\u003cp>The drama in the film develops incrementally as the inner workings of the dark web are explained for an audience unfamiliar with this world—which includes Fredrick Brennan, who created 8chan, and Jim and Ron Watkins, who later take on ownership and administration of the site.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary centers on the rivalry between Brennan and the shadowy father-son duo of Jim and Ron Watkins. Though they once all worked together, Brennan turns and winds up strongly \u003ca href=\"https://www.nytimes.com/2019/08/04/technology/8chan-shooting-manifesto.html\" target=\"_blank\" rel=\"noopener noreferrer\">advocating against 8chan\u003c/a>. He does not believe the Watkinses, who test the bounds of free speech on the internet, are responsible stewards of the site, particularly after episodes of murder and violence that were linked to posters on the site.\u003c/p>\n\u003cp>Through his investigation, Hoback believes he has revealed the identity of Q. Through anonymous “drops,” Q boasted of dates—that never materialized—when the cabal would be toppled. Followers of the movement believed Q must be someone high up in Trump’s inner circle.\u003c/p>\n\u003cp>NPR has not independently verified Q’s identity, but Hoback’s film shows strong evidence that Ron Watkins was Q. He’s not someone particularly special and didn’t have any real ties to Trump, but he is someone who had access and motive.\u003c/p>\n\u003cp>“I hope that by revealing the mechanics behind Q and the personalities behind it,” Hoback said, “that they see that it really is just this kind of absurd cast of characters that created this massive global movement and that it is not this sort of scary mystery box.”\u003c/p>\n\u003cp>The movement grew so large that QAnon supporter Marjorie Taylor Greene, R-Ga., and Lauren Boebert, R-Colo., who “\u003ca href=\"https://www.npr.org/2020/07/01/885991730/gop-candidates-open-to-qanon-conspiracy-theory-advance-in-congressional-races\" target=\"_blank\" rel=\"noopener noreferrer\">expressed openness to Q\u003c/a>” even \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\">won\u003c/a> \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\" target=\"_blank\" rel=\"noopener noreferrer\">seats\u003c/a> in Congress, where they continue to spread misinformation. Greene even \u003ca href=\"https://twitter.com/JakeSherman/status/1383106255930155008\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> tried to start an “America First” caucus that would have focused on “Anglo-Saxon” values. After initially \u003ca href=\"https://twitter.com/groundyourstand/status/1383198051217465346\" target=\"_blank\" rel=\"noopener noreferrer\">seeming to defend it\u003c/a>, \u003ca href=\"https://www.salon.com/2021/04/17/marjorie-taylor-greene-forced-to-abandon-america-first-caucus-after-republican-outrage/\" target=\"_blank\" rel=\"noopener noreferrer\">she backed off\u003c/a> after the effort drew a sharp backlash.\u003c/p>\n\u003cp>Early in her tenure this year, she was stripped of committee assignments and yet, despite her marginalization—or perhaps because of it—she raised $3.2 million in the first three months of this year. It’s a sum that’s not just high for a member of Congress but rivals many Senate candidates.\u003c/p>\n\u003cp>Q hasn’t posted since the election, and many of its followers have been disappointed that its supposed prophecies haven’t come true. So where does the grassroots energy behind the movement, with its distrust of experts and willingness to believe misinformation, go from here?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rK_Gf9H2CWI\u003c/p>\n\u003cp>Hoback talked with NPR about his investigation, what he hopes people take away from it and what it all might mean for the future.\u003c/p>\n\u003cp>\u003cem>The following is a selection of our conversation and was edited for length and clarity:\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>NPR: You were following QAnon far back when most of us—it was under our noses and just didn’t really understand it. Why did you then think that this was an important topic to cover and what drew you to it?\u003c/strong>\u003c/p>\n\u003cp>HOBACK: I thought it was a sign of things to come, both in the ways Q was being managed online, removing Q or suggesting that this thing was something that was too dangerous to be allowed on Reddit. It made me wonder if it actually was going to have the opposite effect, if it was going to make it bigger. To me, it looked like something that was likely to continue to grow. And I was just drawn to the mystery as well. I felt that unmasking Q might bring the whole thing to a conclusion.\u003c/p>\n\u003cp>\u003cstrong>I’m a political editor. Jan. 6 was one of the most harrowing moments in the film. What do you take away from the lead-up to Jan. 6? \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13891014']The day itself, I found to be rather nerve-wracking. I think anybody who had really been tracking what was going on could see that this was the moment in which those power players who had been circling around Q, whether that’s Roger Stone, [retired Maj.] Gen. [Paul] Vallely, [retired] Gen. [Michael] Flynn, Steve Bannon, Alex Jones, Donald Trump, all of these guys, they were all prodding in the runup to Jan. 6 in a way to make the Q narrative real. And there were these overlapping groups that were all driving toward something similar. So I think if you were tracking it closely, you probably would have thought like myself that it was going to be even worse than it was.\u003c/p>\n\u003cp>\u003cstrong>How much fault do you think Ron and Jim deserve for that day? \u003c/strong>\u003c/p>\n\u003cp>Well, I don’t think Jan. 6 happened because of Q, but I also don’t think it would have happened without Q.\u003c/p>\n\u003cp>\u003cstrong>How interconnected was Trump world and Q?\u003c/strong>\u003c/p>\n\u003cp>So I would like for there to be more investigation into the ties between Ron and Jim and some of these power players in D.C.—Gen. Flynn and these other characters. I mean, we’ve seen some forensic evidence, and certainly after the 2016 election, it stands to reason that, given the amount of traffic 8chan was turning to Trump’s own campaign, that they would have reached out. I think the series paints a pretty good case for their ties to these D.C. operatives. But the exact nature of that relationship remains a little unclear.\u003c/p>\n\u003cp>\u003cstrong>Who were some of the key players and how much were they feeding Q information?\u003c/strong>\u003c/p>\n\u003cp>In the series, we show what we know, which is that Jerome Corsi, the known conspiracy theorist, had ties with all of these guys, close ties, and was one of the first to bolster Q. He says that a couple of people he holds very close to him—and we know that he has ties to Vallely—said you need to start paying attention to this. Bring it on Alex Jones’ [show]. Make it bigger.\u003c/p>\n\u003cp>So that would indicate that very early on, some of these ex-military networks saw the value in Q, saw that it was gaining steam and wanted to bolster it. When you talk about the information that’s being funneled, I don’t think there was really any meaningful information being funneled to Q. Q was just basically picking its favorite research out of things that the anons [anonymous posters] were collecting on 8chan and then 8kun, and then reflecting that research, or those ideas or the conspiracy theories back to the anons in the form of questions.\u003c/p>\n\u003cp>So you didn’t have to be Gen. Michael Flynn to write the Q drops. You just needed to be an incredibly engaged and active user of 8chan and very well versed in the research and analysis and all the internet data points that were being collected in order to create that narrative.\u003c/p>\n\u003cp>\u003cstrong>The documentary builds a powerful case that Ron is Q. Ron denies this, but in the documentary, he seems to relish the idea of being suspected. After the election, he comes out of the shadows and begins posting in his own name on Twitter about the election. He even \u003c/strong>\u003ca href=\"https://www.nbcnews.com/tech/internet/trump-meets-qanon-influencers-conspiracy-theory-s-adherents-beg-dictatorship-n1252144\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>appears on OAN\u003c/strong>\u003c/a>\u003cstrong>, the right-wing cable TV platform, to share his false conspiracies about Dominion voting machines. Along with Trump, Ron was banned from Twitter. Tell us more about why you think it’s him.\u003c/strong>\u003c/p>\n\u003cp>There’s so much more evidence I have pointing to Ron than what I was able to keep in the series. There’s mountains of it, including things he said to me since then. That’s part of why it was so valuable to spend this much time with them, because they’re not going to tell me the truth. So the answers lie in the omissions, in how they change their stories, in basically what they’re hiding and then what they eventually sort of choose to reveal.\u003c/p>\n\u003cp>One of the things Ron messaged me after the series dropped, he said, “You know, Cullen, I identify more with villains.” He wrote, “Something I learned a long time ago is that internet personalities are just actors on a stage. Making things larger than life makes for a better story and ultimately a more entertaining existence.” And then he goes on to say, “Getting away from the narrative that Ron is Q will be impossible, so I may as well embrace it.”\u003c/p>\n\u003cp>I think that it’s, like, almost an admission in and of itself. And there have been a few of those since then. You know, I think deep down he wants the credit, but he can’t take it.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people take away from knowing who Q was?\u003c/strong>\u003c/p>\n\u003cp>I think that when you demystify something, it takes away its power. You’re left with the baggage of the man and the motives of the man, and it just changes the equation. You know, if you talk to a Q follower, they could imagine that Q could be any number of things. It could have all of the benefits and none of the cons. And also it allowed them to imagine that there was this massive, super top secret military operation in the works. And I think that the truth matters. I think that it’s important to reveal the forces behind the operation.\u003c/p>\n\u003cp>And I think deep down, most of those who believed in Q wanted to know the truth. Whether or not they’re willing to accept it is another story. I just present them with the information, and they’ll draw their own conclusions. I don’t expect QAnons to watch this and suddenly, be like, “Well, I don’t believe in Q anymore.” The misery of shame is too great. I think that it’s a process, and that story may continue to evolve, but I think, also, the people who’ve seen who’s behind the operation, will they be likely to believe in Q now?\u003c/p>\n\u003cp>\u003cstrong>Have you heard from any Q followers or supporters?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13891257']I have heard from a number of folks, I mean, my DMs on Twitter have been just insane. Some of them had been from Q followers. Some of them have been from family members of Q followers. And I’ve gotten more than a dozen messages now from people who said that, for the first time in a year in some cases, they’re communicating with their family members who were believers in Q. They feel like they understand now what this thing was that they believed in. They can talk about sort of the underlying mechanics and who was behind it.\u003c/p>\n\u003cp>Mileage may vary. I don’t expect that that’s going to be the case for everybody. But anecdotally, there’s been a number of cases now where lines of communication are reopening between those who believe in Q and their family members. I think that’s really important, because I have a lot of Q followers who sometimes just call me in the middle of the night, because they were lonely or because they needed someone to talk to or they just saw me as a grounding force, and I would often tell them, “Look, you need to try to try to talk to your brother, try to find some common ground.”\u003c/p>\n\u003cp>\u003cstrong>Where does this all go from here? What happens to Q followers and the movement?\u003c/strong>\u003c/p>\n\u003cp>You’ve probably seen the \u003ca href=\"https://www.npr.org/sections/inauguration-day-live-updates/2021/01/20/958907699/the-qanon-storm-never-struck-some-supporters-are-wavering-others-steadfast\" target=\"_blank\" rel=\"noopener noreferrer\">Telegram groups\u003c/a>. They’re not that gigantic, maybe 100,000 people or so. And they’re a pretty passionate community. I suspect that it will evolve. It will splinter into factions. Elements of QAnon will be absorbed into the main line of the GOP. But I think Q, as we knew it, will not remain.\u003c/p>\n\u003cp>\u003cstrong>What is the point that you’re most hoping audiences take away from your film? \u003c/strong>\u003c/p>\n\u003cp>I think that the antiseptic of sunlight is a powerful force. And by having people sit down and actually engage with sort of the ugly reality of Q, it also gives them a language. It not only helps them understand what was really happening this whole time, but it also helps a lot of people kind of communicate with those who maybe were on the brink of buying into Q or currently believe in it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not going to be an easy path going forward coexisting with a lot of people who believe in this stuff, but I think that we’re already starting to see that the series is helping families reopen lines of communication now. To me, that’s the most positive outcome I’ve seen so far. And I hope it continues.\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=Q%26A%3A+Documentary+Unravels+Twisted+Knots+Of+QAnon+Movement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The insurrection at the U.S. Capitol on Jan. 6 was predictable if you were following message boards on shadowy corners of the internet.\u003c/p>\n\u003cp>“Yeah, I thought Jan. 6 was going to be really bad,” Cullen Hoback, director of the documentary \u003cem>Q: Into the Storm, \u003c/em>told NPR in a recent interview. “I got hardly any sleep the two nights before it. I was very anxious going into that day.”\u003c/p>\n\u003cp>Hoback followed the growth of the QAnon movement for three years and unravels the twisted knots of the conspiracy theory in a six-part series on HBO. He focuses on the interpersonal drama between those behind the website 8chan (later 8kun), where an enigmatic “Q” posted false conspiracy theories that convinced millions there were nefarious Democratic actors involved in child-trafficking rings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spurred on by former President Donald Trump’s false allegations of widespread fraud in the 2020 election that he lost to President Biden, many Q believers were among a larger group of anti-government extremists who stormed the Capitol on Jan. 6 in protest of the usually ceremonial counting of Electoral College votes affirming the election result.\u003c/p>\n\u003cp>The drama in the film develops incrementally as the inner workings of the dark web are explained for an audience unfamiliar with this world—which includes Fredrick Brennan, who created 8chan, and Jim and Ron Watkins, who later take on ownership and administration of the site.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The documentary centers on the rivalry between Brennan and the shadowy father-son duo of Jim and Ron Watkins. Though they once all worked together, Brennan turns and winds up strongly \u003ca href=\"https://www.nytimes.com/2019/08/04/technology/8chan-shooting-manifesto.html\" target=\"_blank\" rel=\"noopener noreferrer\">advocating against 8chan\u003c/a>. He does not believe the Watkinses, who test the bounds of free speech on the internet, are responsible stewards of the site, particularly after episodes of murder and violence that were linked to posters on the site.\u003c/p>\n\u003cp>Through his investigation, Hoback believes he has revealed the identity of Q. Through anonymous “drops,” Q boasted of dates—that never materialized—when the cabal would be toppled. Followers of the movement believed Q must be someone high up in Trump’s inner circle.\u003c/p>\n\u003cp>NPR has not independently verified Q’s identity, but Hoback’s film shows strong evidence that Ron Watkins was Q. He’s not someone particularly special and didn’t have any real ties to Trump, but he is someone who had access and motive.\u003c/p>\n\u003cp>“I hope that by revealing the mechanics behind Q and the personalities behind it,” Hoback said, “that they see that it really is just this kind of absurd cast of characters that created this massive global movement and that it is not this sort of scary mystery box.”\u003c/p>\n\u003cp>The movement grew so large that QAnon supporter Marjorie Taylor Greene, R-Ga., and Lauren Boebert, R-Colo., who “\u003ca href=\"https://www.npr.org/2020/07/01/885991730/gop-candidates-open-to-qanon-conspiracy-theory-advance-in-congressional-races\" target=\"_blank\" rel=\"noopener noreferrer\">expressed openness to Q\u003c/a>” even \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\">won\u003c/a> \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\" target=\"_blank\" rel=\"noopener noreferrer\">seats\u003c/a> in Congress, where they continue to spread misinformation. Greene even \u003ca href=\"https://twitter.com/JakeSherman/status/1383106255930155008\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> tried to start an “America First” caucus that would have focused on “Anglo-Saxon” values. After initially \u003ca href=\"https://twitter.com/groundyourstand/status/1383198051217465346\" target=\"_blank\" rel=\"noopener noreferrer\">seeming to defend it\u003c/a>, \u003ca href=\"https://www.salon.com/2021/04/17/marjorie-taylor-greene-forced-to-abandon-america-first-caucus-after-republican-outrage/\" target=\"_blank\" rel=\"noopener noreferrer\">she backed off\u003c/a> after the effort drew a sharp backlash.\u003c/p>\n\u003cp>Early in her tenure this year, she was stripped of committee assignments and yet, despite her marginalization—or perhaps because of it—she raised $3.2 million in the first three months of this year. It’s a sum that’s not just high for a member of Congress but rivals many Senate candidates.\u003c/p>\n\u003cp>Q hasn’t posted since the election, and many of its followers have been disappointed that its supposed prophecies haven’t come true. So where does the grassroots energy behind the movement, with its distrust of experts and willingness to believe misinformation, go from here?\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/rK_Gf9H2CWI'\n title='//www.youtube.com/embed/rK_Gf9H2CWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hoback talked with NPR about his investigation, what he hopes people take away from it and what it all might mean for the future.\u003c/p>\n\u003cp>\u003cem>The following is a selection of our conversation and was edited for length and clarity:\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>NPR: You were following QAnon far back when most of us—it was under our noses and just didn’t really understand it. Why did you then think that this was an important topic to cover and what drew you to it?\u003c/strong>\u003c/p>\n\u003cp>HOBACK: I thought it was a sign of things to come, both in the ways Q was being managed online, removing Q or suggesting that this thing was something that was too dangerous to be allowed on Reddit. It made me wonder if it actually was going to have the opposite effect, if it was going to make it bigger. To me, it looked like something that was likely to continue to grow. And I was just drawn to the mystery as well. I felt that unmasking Q might bring the whole thing to a conclusion.\u003c/p>\n\u003cp>\u003cstrong>I’m a political editor. Jan. 6 was one of the most harrowing moments in the film. What do you take away from the lead-up to Jan. 6? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The day itself, I found to be rather nerve-wracking. I think anybody who had really been tracking what was going on could see that this was the moment in which those power players who had been circling around Q, whether that’s Roger Stone, [retired Maj.] Gen. [Paul] Vallely, [retired] Gen. [Michael] Flynn, Steve Bannon, Alex Jones, Donald Trump, all of these guys, they were all prodding in the runup to Jan. 6 in a way to make the Q narrative real. And there were these overlapping groups that were all driving toward something similar. So I think if you were tracking it closely, you probably would have thought like myself that it was going to be even worse than it was.\u003c/p>\n\u003cp>\u003cstrong>How much fault do you think Ron and Jim deserve for that day? \u003c/strong>\u003c/p>\n\u003cp>Well, I don’t think Jan. 6 happened because of Q, but I also don’t think it would have happened without Q.\u003c/p>\n\u003cp>\u003cstrong>How interconnected was Trump world and Q?\u003c/strong>\u003c/p>\n\u003cp>So I would like for there to be more investigation into the ties between Ron and Jim and some of these power players in D.C.—Gen. Flynn and these other characters. I mean, we’ve seen some forensic evidence, and certainly after the 2016 election, it stands to reason that, given the amount of traffic 8chan was turning to Trump’s own campaign, that they would have reached out. I think the series paints a pretty good case for their ties to these D.C. operatives. But the exact nature of that relationship remains a little unclear.\u003c/p>\n\u003cp>\u003cstrong>Who were some of the key players and how much were they feeding Q information?\u003c/strong>\u003c/p>\n\u003cp>In the series, we show what we know, which is that Jerome Corsi, the known conspiracy theorist, had ties with all of these guys, close ties, and was one of the first to bolster Q. He says that a couple of people he holds very close to him—and we know that he has ties to Vallely—said you need to start paying attention to this. Bring it on Alex Jones’ [show]. Make it bigger.\u003c/p>\n\u003cp>So that would indicate that very early on, some of these ex-military networks saw the value in Q, saw that it was gaining steam and wanted to bolster it. When you talk about the information that’s being funneled, I don’t think there was really any meaningful information being funneled to Q. Q was just basically picking its favorite research out of things that the anons [anonymous posters] were collecting on 8chan and then 8kun, and then reflecting that research, or those ideas or the conspiracy theories back to the anons in the form of questions.\u003c/p>\n\u003cp>So you didn’t have to be Gen. Michael Flynn to write the Q drops. You just needed to be an incredibly engaged and active user of 8chan and very well versed in the research and analysis and all the internet data points that were being collected in order to create that narrative.\u003c/p>\n\u003cp>\u003cstrong>The documentary builds a powerful case that Ron is Q. Ron denies this, but in the documentary, he seems to relish the idea of being suspected. After the election, he comes out of the shadows and begins posting in his own name on Twitter about the election. He even \u003c/strong>\u003ca href=\"https://www.nbcnews.com/tech/internet/trump-meets-qanon-influencers-conspiracy-theory-s-adherents-beg-dictatorship-n1252144\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>appears on OAN\u003c/strong>\u003c/a>\u003cstrong>, the right-wing cable TV platform, to share his false conspiracies about Dominion voting machines. Along with Trump, Ron was banned from Twitter. Tell us more about why you think it’s him.\u003c/strong>\u003c/p>\n\u003cp>There’s so much more evidence I have pointing to Ron than what I was able to keep in the series. There’s mountains of it, including things he said to me since then. That’s part of why it was so valuable to spend this much time with them, because they’re not going to tell me the truth. So the answers lie in the omissions, in how they change their stories, in basically what they’re hiding and then what they eventually sort of choose to reveal.\u003c/p>\n\u003cp>One of the things Ron messaged me after the series dropped, he said, “You know, Cullen, I identify more with villains.” He wrote, “Something I learned a long time ago is that internet personalities are just actors on a stage. Making things larger than life makes for a better story and ultimately a more entertaining existence.” And then he goes on to say, “Getting away from the narrative that Ron is Q will be impossible, so I may as well embrace it.”\u003c/p>\n\u003cp>I think that it’s, like, almost an admission in and of itself. And there have been a few of those since then. You know, I think deep down he wants the credit, but he can’t take it.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people take away from knowing who Q was?\u003c/strong>\u003c/p>\n\u003cp>I think that when you demystify something, it takes away its power. You’re left with the baggage of the man and the motives of the man, and it just changes the equation. You know, if you talk to a Q follower, they could imagine that Q could be any number of things. It could have all of the benefits and none of the cons. And also it allowed them to imagine that there was this massive, super top secret military operation in the works. And I think that the truth matters. I think that it’s important to reveal the forces behind the operation.\u003c/p>\n\u003cp>And I think deep down, most of those who believed in Q wanted to know the truth. Whether or not they’re willing to accept it is another story. I just present them with the information, and they’ll draw their own conclusions. I don’t expect QAnons to watch this and suddenly, be like, “Well, I don’t believe in Q anymore.” The misery of shame is too great. I think that it’s a process, and that story may continue to evolve, but I think, also, the people who’ve seen who’s behind the operation, will they be likely to believe in Q now?\u003c/p>\n\u003cp>\u003cstrong>Have you heard from any Q followers or supporters?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I have heard from a number of folks, I mean, my DMs on Twitter have been just insane. Some of them had been from Q followers. Some of them have been from family members of Q followers. And I’ve gotten more than a dozen messages now from people who said that, for the first time in a year in some cases, they’re communicating with their family members who were believers in Q. They feel like they understand now what this thing was that they believed in. They can talk about sort of the underlying mechanics and who was behind it.\u003c/p>\n\u003cp>Mileage may vary. I don’t expect that that’s going to be the case for everybody. But anecdotally, there’s been a number of cases now where lines of communication are reopening between those who believe in Q and their family members. I think that’s really important, because I have a lot of Q followers who sometimes just call me in the middle of the night, because they were lonely or because they needed someone to talk to or they just saw me as a grounding force, and I would often tell them, “Look, you need to try to try to talk to your brother, try to find some common ground.”\u003c/p>\n\u003cp>\u003cstrong>Where does this all go from here? What happens to Q followers and the movement?\u003c/strong>\u003c/p>\n\u003cp>You’ve probably seen the \u003ca href=\"https://www.npr.org/sections/inauguration-day-live-updates/2021/01/20/958907699/the-qanon-storm-never-struck-some-supporters-are-wavering-others-steadfast\" target=\"_blank\" rel=\"noopener noreferrer\">Telegram groups\u003c/a>. They’re not that gigantic, maybe 100,000 people or so. And they’re a pretty passionate community. I suspect that it will evolve. It will splinter into factions. Elements of QAnon will be absorbed into the main line of the GOP. But I think Q, as we knew it, will not remain.\u003c/p>\n\u003cp>\u003cstrong>What is the point that you’re most hoping audiences take away from your film? \u003c/strong>\u003c/p>\n\u003cp>I think that the antiseptic of sunlight is a powerful force. And by having people sit down and actually engage with sort of the ugly reality of Q, it also gives them a language. It not only helps them understand what was really happening this whole time, but it also helps a lot of people kind of communicate with those who maybe were on the brink of buying into Q or currently believe in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not going to be an easy path going forward coexisting with a lot of people who believe in this stuff, but I think that we’re already starting to see that the series is helping families reopen lines of communication now. To me, that’s the most positive outcome I’ve seen so far. And I hope it continues.\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=Q%26A%3A+Documentary+Unravels+Twisted+Knots+Of+QAnon+Movement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w9IkVtLvflU\u003c/p>\n\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arrington recalls in \u003cem>TINA\u003c/em> that “she wanted to just tell it and then forget it. It didn’t quite work out that way.” [aside postid='arts_13890087']\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” [aside postid='arts_13892800']\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>[ad floatright]\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\">\u003cem>‘TINA’ premieres on Saturday, March 27, on HBO. \u003ca href=\"https://www.hbo.com/documentaries/tina\" 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>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\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/w9IkVtLvflU'\n title='//www.youtube.com/embed/w9IkVtLvflU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\">\u003cem>‘TINA’ premieres on Saturday, March 27, on HBO. \u003ca href=\"https://www.hbo.com/documentaries/tina\" 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>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\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/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area filmmaker \u003ca href=\"https://www.imdb.com/name/nm0525818/\" target=\"_blank\" rel=\"noopener noreferrer\">Debbie Lum\u003c/a>’s new documentary \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder!\u003c/em>\u003c/a> begins by underscoring popular beliefs about \u003ca href=\"https://www.sfusd.edu/school/lowell-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Lowell High School\u003c/a>:\u003c/p>\n\u003cp>The nationally ranked San Francisco public high school is highly competitive (“Lowell is the ultimate self-confidence crusher!”); the students are excellent at multitasking (“I’m the captain of the tennis team. I’m also co-president of Lowell BuildOn, vice president of Girls who Code and the editor of the school newspaper too!”); and the majority are Asian American (“My friend, he said, ‘Oh, you go to an Asian Excellency School!’”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSA6-fDXxqc\u003c/p>\n\u003cp>But Lum is interested in digging beneath the stereotypes with her documentary—especially when it comes to race.\u003c/p>\n\u003cp>\u003cem>Try Harder!\u003c/em> shows the pressures facing a group of high-achieving seniors at Lowell as they strive to get accepted at top universities. The \u003ca href=\"https://www.eventbrite.com/e/2021-sundance-film-festival-try-harder-tickets-135708209909\" target=\"_blank\" rel=\"noopener noreferrer\">world premiere\u003c/a> of the movie at the \u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> this weekend comes as the school is reeling from the latest in a string of racist incidents on campus.\u003c/p>\n\u003cp>“My film explores what it means to be stuck in boxes, especially along the lines of racial identity and how that impacts the college application process,” Lum says in an online interview with KQED.\u003c/p>\n\u003cp>In the movie, teacher Scott Dickerman tries to encourage students to look beyond the Ivy League, because of allegations against some elite schools, like Harvard, of discriminating against Asian American applicants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even if you are a student who should be accepted at a school like this, you may not get in anyway,” Dickerman says. “And that in many cases has to do with a little thing called ethnicity.”\u003c/p>\n\u003cp>According to \u003ca href=\"https://dq.cde.ca.gov/dataquest/dqcensus/EnrEthLevels.aspx?cds=38684783833407&agglevel=school&year=2019-20\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Unified School District data\u003c/a> for the 2019–2020 academic year, more than 50% of Lowell students identify as Asian American—almost double the average for San Francisco public schools.\u003c/p>\n\u003cp>Meanwhile, less than 2% are Black, which comes with its own set of challenges.\u003c/p>\n\u003cp>In one scene, student Rachael Schmidt talks about the time she got a bad grade in chemistry class. She blurted out to her classmates that her mom would be upset.\u003c/p>\n\u003cfigure id=\"attachment_13891901\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891901 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Virginia Marshall, President of the San Francisco Alliance of Black School Educators and Co-chair of San Francisco African American Honor Roll with honor student Rachael Schmidt in a scene from Try Harder! directed by Debbie Lum. \u003ccite>(Courtesy Try Harder! Film / Lou Nakasako)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The girl across the table, she asks me, ‘Well, what ethnicity is your mom?’ And I said, ‘She’s African American,’” Schmidt says. “And she said, ‘That’s so weird, because I didn’t expect for Black people to actually care about their grades.’”\u003c/p>\n\u003cp>Lum says she observed micro-aggressions like this regularly at Lowell while shooting her film. The director began her work on the documentary not long after nearly 30 students staged a walkout protesting racism at the school in 2016.\u003c/p>\n\u003cp>So Lum wasn’t surprised to hear the news about the posting of anti-Black and anti-semitic slurs on a school-sponsored messaging platform last week.\u003c/p>\n\u003cp>“It is a problem at Lowell,” Lum says.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco board of education president \u003ca href=\"https://www.sfusd.edu/about/board-of-education/board-president-gabriela-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriela Lopez\u003c/a> says Lowell often gets media attention because of its national profile.\u003c/p>\n\u003cp>“This is a high school that a lot of people know and pay attention to,” Lopez says.\u003c/p>\n\u003cp>But she says the prestigious institution is by no means the only local public school grappling with racism.\u003c/p>\n\u003cp>“Whether it be in our virtual space, whether it be in our physical classrooms, this is not the first time, unfortunately, that it’s happened,” Lopez says.\u003c/p>\n\u003cfigure id=\"attachment_13891902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891902 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Current Lowell senior Justine Orgel. \u003ccite>(Courtesy Justine Orgel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current Lowell High School senior Justine Orgel is part of a group of students that publicly condemned last week’s racist attacks. She says the school’s exclusive admissions policy based on test scores is at least partly to blame.\u003c/p>\n\u003cp>“We have this lack of representation of Black students, Hispanic students,” Orgel says.\u003c/p>\n\u003cp>The anger around racial disparities has also been exacerbated by the school board’s decision last fall to temporarily admit next year’s freshman class at Lowell using the lottery system it uses for other local schools, rather than relying on the selective grades and testing evaluation for which Lowell’s known. The decision was made because of the switch to pass/fail grading during the pandemic.\u003c/p>\n\u003cp>“With the lottery issue came lots of anger on different sides,” Orgel says. “Some people are angry because they don’t want the academic environment of Lowell to change, or they think getting rid of a merit-based system would allow anyone to enroll, implying that they don’t feel that these new students—more diverse groups since there are no barriers to entry other than lottery—deserve the spots. This triggers anger from other sides who feel that this attitude perpetuates systemic racism.”\u003c/p>\n\u003cp>Also of note: Lowell High School is among the 44 public schools in the city the school board voted this week to rename in light of the unethical ties of their namesakes. Nineteenth century writer James Russell Lowell was an abolitionist. But the committee responsible for looking into the namesakes of San Francisco schools question Lowell’s commitment to the anti-slavery cause and say he made statements about the superiority of whites over Blacks.\u003c/p>\n\u003cp>Orgel says she wants to see \u003cem>Try Harder!\u003c/em>. “I hope the film will give audiences the chance to see what the students at Lowell High School are really up against,” she says.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area filmmaker \u003ca href=\"https://www.imdb.com/name/nm0525818/\" target=\"_blank\" rel=\"noopener noreferrer\">Debbie Lum\u003c/a>’s new documentary \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder!\u003c/em>\u003c/a> begins by underscoring popular beliefs about \u003ca href=\"https://www.sfusd.edu/school/lowell-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Lowell High School\u003c/a>:\u003c/p>\n\u003cp>The nationally ranked San Francisco public high school is highly competitive (“Lowell is the ultimate self-confidence crusher!”); the students are excellent at multitasking (“I’m the captain of the tennis team. I’m also co-president of Lowell BuildOn, vice president of Girls who Code and the editor of the school newspaper too!”); and the majority are Asian American (“My friend, he said, ‘Oh, you go to an Asian Excellency School!’”)\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/nSA6-fDXxqc'\n title='//www.youtube.com/embed/nSA6-fDXxqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Lum is interested in digging beneath the stereotypes with her documentary—especially when it comes to race.\u003c/p>\n\u003cp>\u003cem>Try Harder!\u003c/em> shows the pressures facing a group of high-achieving seniors at Lowell as they strive to get accepted at top universities. The \u003ca href=\"https://www.eventbrite.com/e/2021-sundance-film-festival-try-harder-tickets-135708209909\" target=\"_blank\" rel=\"noopener noreferrer\">world premiere\u003c/a> of the movie at the \u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> this weekend comes as the school is reeling from the latest in a string of racist incidents on campus.\u003c/p>\n\u003cp>“My film explores what it means to be stuck in boxes, especially along the lines of racial identity and how that impacts the college application process,” Lum says in an online interview with KQED.\u003c/p>\n\u003cp>In the movie, teacher Scott Dickerman tries to encourage students to look beyond the Ivy League, because of allegations against some elite schools, like Harvard, of discriminating against Asian American applicants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even if you are a student who should be accepted at a school like this, you may not get in anyway,” Dickerman says. “And that in many cases has to do with a little thing called ethnicity.”\u003c/p>\n\u003cp>According to \u003ca href=\"https://dq.cde.ca.gov/dataquest/dqcensus/EnrEthLevels.aspx?cds=38684783833407&agglevel=school&year=2019-20\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Unified School District data\u003c/a> for the 2019–2020 academic year, more than 50% of Lowell students identify as Asian American—almost double the average for San Francisco public schools.\u003c/p>\n\u003cp>Meanwhile, less than 2% are Black, which comes with its own set of challenges.\u003c/p>\n\u003cp>In one scene, student Rachael Schmidt talks about the time she got a bad grade in chemistry class. She blurted out to her classmates that her mom would be upset.\u003c/p>\n\u003cfigure id=\"attachment_13891901\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891901 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Virginia Marshall, President of the San Francisco Alliance of Black School Educators and Co-chair of San Francisco African American Honor Roll with honor student Rachael Schmidt in a scene from Try Harder! directed by Debbie Lum. \u003ccite>(Courtesy Try Harder! Film / Lou Nakasako)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The girl across the table, she asks me, ‘Well, what ethnicity is your mom?’ And I said, ‘She’s African American,’” Schmidt says. “And she said, ‘That’s so weird, because I didn’t expect for Black people to actually care about their grades.’”\u003c/p>\n\u003cp>Lum says she observed micro-aggressions like this regularly at Lowell while shooting her film. The director began her work on the documentary not long after nearly 30 students staged a walkout protesting racism at the school in 2016.\u003c/p>\n\u003cp>So Lum wasn’t surprised to hear the news about the posting of anti-Black and anti-semitic slurs on a school-sponsored messaging platform last week.\u003c/p>\n\u003cp>“It is a problem at Lowell,” Lum says.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco board of education president \u003ca href=\"https://www.sfusd.edu/about/board-of-education/board-president-gabriela-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriela Lopez\u003c/a> says Lowell often gets media attention because of its national profile.\u003c/p>\n\u003cp>“This is a high school that a lot of people know and pay attention to,” Lopez says.\u003c/p>\n\u003cp>But she says the prestigious institution is by no means the only local public school grappling with racism.\u003c/p>\n\u003cp>“Whether it be in our virtual space, whether it be in our physical classrooms, this is not the first time, unfortunately, that it’s happened,” Lopez says.\u003c/p>\n\u003cfigure id=\"attachment_13891902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891902 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Current Lowell senior Justine Orgel. \u003ccite>(Courtesy Justine Orgel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current Lowell High School senior Justine Orgel is part of a group of students that publicly condemned last week’s racist attacks. She says the school’s exclusive admissions policy based on test scores is at least partly to blame.\u003c/p>\n\u003cp>“We have this lack of representation of Black students, Hispanic students,” Orgel says.\u003c/p>\n\u003cp>The anger around racial disparities has also been exacerbated by the school board’s decision last fall to temporarily admit next year’s freshman class at Lowell using the lottery system it uses for other local schools, rather than relying on the selective grades and testing evaluation for which Lowell’s known. The decision was made because of the switch to pass/fail grading during the pandemic.\u003c/p>\n\u003cp>“With the lottery issue came lots of anger on different sides,” Orgel says. “Some people are angry because they don’t want the academic environment of Lowell to change, or they think getting rid of a merit-based system would allow anyone to enroll, implying that they don’t feel that these new students—more diverse groups since there are no barriers to entry other than lottery—deserve the spots. This triggers anger from other sides who feel that this attitude perpetuates systemic racism.”\u003c/p>\n\u003cp>Also of note: Lowell High School is among the 44 public schools in the city the school board voted this week to rename in light of the unethical ties of their namesakes. Nineteenth century writer James Russell Lowell was an abolitionist. But the committee responsible for looking into the namesakes of San Francisco schools question Lowell’s commitment to the anti-slavery cause and say he made statements about the superiority of whites over Blacks.\u003c/p>\n\u003cp>Orgel says she wants to see \u003cem>Try Harder!\u003c/em>. “I hope the film will give audiences the chance to see what the students at Lowell High School are really up against,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"tagline": "True-life supernatural stories",
"info": "",
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