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"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
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"title": "‘The First Angry Man’ Assesses Legacy of Prop. 13 Firebrand Howard Jarvis",
"headTitle": "‘The First Angry Man’ Assesses Legacy of Prop. 13 Firebrand Howard Jarvis | KQED",
"content": "\u003cp>California’s adoption of “The Golden State” as our official nickname in 1968 invoked the Gold Rush’s promise of riches and the gleaming achievement of the Golden Gate Bridge. For many, it also referred to the gold standard of best-in-nation schools and highways. California was No. 1 with a bullet, in the jargon of the pop charts of the day.\u003c/p>\n\u003cp>Fast forward 40 years to 2008, and the luster was gone. How we got there, and here, is recounted in Jason Cohn’s fascinating and insightful documentary, \u003cem>\u003ca href=\"https://firstangryman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The First Angry Man\u003c/a>\u003c/em>. The film airs at 8pm tonight on KQED and 3pm Monday, Oct. 19 on KQED Plus.\u003c/p>\n\u003cp>“We were starting a family in Berkeley around the time when California was in financial free-fall, and the media was talking about California as a failed state,” Cohn recalls. “Meg Whitman was running for governor literally talking about the possibility of filing for bankruptcy. We couldn’t pay our bills, we were furloughing workers, schools had been cut and then cut more. It was clear to me that it wasn’t the kind of problem that could be solved by tightening our belts further.”\u003c/p>\n\u003cp>The schools were broken and infrastructure was falling apart. There was a ton of debate, with most everyone citing Prop. 13 as a central, unalterable factor. \u003c/p>\n\u003cp>“I felt like the conversation ended there,” Cohn says. “And everybody knew what they knew about Prop. 13, which was frankly not very much. It was this thing that had happened 30 years ago and it had cut property taxes. Depending on your ideological starting point, it was the reason you or your parents were able to keep their house or the reason California was in such dire financial circumstances.”\u003c/p>\n\u003cfigure id=\"attachment_13888087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13888087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1536x999.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0.png 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curious about the dearth of actual information about Proposition 13 and its architect and champion, Cohn tracked down a copy of \u003cem>I’m Mad as Hell\u003c/em>, the ghostwritten, self-mythologizing autobiography of Prop. 13 salesman Howard Jarvis. The proposition itself, approved by voters in 1978, amended the state constitution to cap—and effectively reduce—property taxes.\u003c/p>\n\u003cp>“I thought I would make a cheap kind of DIY [film], my wife [producer Camille Servan-Schrieber] and I do all of the work, do all the shooting and all the editing, just do it on the cheap, maybe on credit cards, just on the California problem,” Cohn explains. “Then I read how scholars view it, as a watershed moment that divided two completely different eras in terms of how people think about the role of government. It’s much bigger than taxes, it’s much bigger than California.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first era spans the New Deal, the Great Society and the War on Poverty, when government claimed a mandate to create opportunity and raise people up. That ended with the Reagan era, a period when, as the former California governor put it, government is seen as the problem and not the solution.\u003c/p>\n\u003cp>“We continue to be in this era,” Cohn says, “where there’s a very limited view of what government can do to create economic equality, to limit the savage effects of capitalism, the tendency of capitalism to create massive disparities between the super-rich and everybody else, and it all started here in California in 1978 with this rather limited issue that on its surface didn’t seem like it would be that big. But its impacts, its consequences have been almost immeasurable.”\u003c/p>\n\u003cp>Prop. 13 fever, as it was called, became a national phenomenon. It particularly infected states with an initiative system, but if it could happen in a liberal state like California, it could—and did—happen anywhere.\u003c/p>\n\u003cfigure id=\"attachment_13888086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once Cohn saw archival footage of Howard Jarvis, an unvarnished, seemingly unsophisticated septuagenarian who loved debating, who cheerfully insulted his opponents and played loose with the truth in the service of telling a story with an emotional hook, he realized he had a main character that would hold an audience. (If Jarvis, who died in 1986, sounds a bit Trumpian, check out \u003cem>The First Angry Man\u003c/em>.)\u003c/p>\n\u003cp>The film also has a solid supporting character in Jerry Brown. The governor declined Cohn’s requests for an interview, though he is colorfully represented via period news footage as a smart politician who nonetheless underestimated Jarvis’ populist appeal and strategic chops.\u003c/p>\n\u003cp>While the happy “winners” of Prop. 13’s tax cuts are amply depicted in \u003cem>The First Angry Man\u003c/em>, the losers are represented by the University of California system.\u003c/p>\n\u003cp>“This was a big struggle for us in telling the story because we wanted to show what the consequences of disinvestment in the public sphere have been, and the public sphere is very, very large,” Cohn explains. “You have the option of trying to do a survey: Show potholes in streets and talk to police about being understaffed and show our aging water infrastructure. We could talk about forest management and how we’re making ourselves vulnerable to fires. If you tried to talk about all of them, it would just go on forever and have no focus.”\u003c/p>\n\u003cfigure id=\"attachment_13888085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png\" alt=\"Former California governor Gray Davis, who was recalled by voters, in 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1536x863.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California governor Gray Davis, who was recalled by voters, in ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galvanized by the state’s ongoing cuts to its contribution to public higher education, Cohn and Servan-Schrieber honed in on the far-reaching effects. \u003c/p>\n\u003cp>“In 1978 when Prop. 13 passed, student debt in California was somewhere in the general vicinity of zero dollars,” Cohn notes. “I think it’s $1.5 trillion nationally now. That is a travesty, and a shadow on the economy and a tremendous burden to put on young people and their families. Everyone is affected by this.”\u003c/p>\n\u003cp>In addition to illuminating the lamentable effects of Prop. 13 that, in fact, many people anticipated, the UC section has a second, important function: It pulls \u003cem>The First Angry Man\u003c/em> into the present.\u003c/p>\n\u003cp>“Camille, senior producer Stephen Talbot and I do tend to work in the history realm as documentary filmmakers a lot. One reason we love it is because you’re not chasing your tail all the time: ‘Oh, this just happened and we have to run out and film that,’ because your story’s changing day by day. When you’re doing a history film, you can almost write your script before you start shooting. That said, what’s the point in doing a history film that has no relevance to the current day? If it doesn’t tell you something about the world we live in now, there’s no point in watching it, and there’s no point in making a film that nobody wants to watch.”\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/proposition-15-business-property-taxes,Proposition 15: Should taxes on commercial and industrial property be raised to generate billions of dollars a year for schools and local government services?' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-Prop-15.png]\u003c/p>\n\u003cp>So it’s fortuitous, if not prescient, that the filmmakers incorporated race as a theme. Without suggesting that voters for Prop. 13 were racist—although Jarvis wasn’t shy about using dog whistles to rouse his supporters’ enthusiasm—\u003cem>The First Angry Man\u003c/em> notes the growing disapproval for government’s mission to affect change by promoting racial equality through affirmative action and fair housing policy. People who are angry at the government are angry about paying taxes.\u003c/p>\n\u003cp>Cohn’s decision to incorporate the role that race played in how people viewed taxation and government in the late 1970s has been vindicated by the events of the last couple years, which exposed the extent to which racial justice and economic justice are meted out unevenly in the United States.\u003c/p>\n\u003cp>“I feel very bad about what’s happened, but it shows that we were telling the right story,” he says.\u003c/p>\n\u003cp>\u003cem>The First Angry Man\u003c/em> doesn’t propose solutions to the problems that stemmed from Prop. 13. It does note that just as California was ahead of the country in anti-tax fervor, we may now be leading the curve to adopt more rational positions about government and taxes. If so, more of what glitters in California will be gold.\u003c/p>\n\u003cp>“We did pass Prop. 30, which was a self-inflicted tax,” Cohn says, referring to the 2012 vote that raised income and sales taxes to pay for schools. “It’s \u003cem>very\u003c/em> unusual in the history of America for voters to beg the government to tax them more. And it passed by a very significant margin.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California’s adoption of “The Golden State” as our official nickname in 1968 invoked the Gold Rush’s promise of riches and the gleaming achievement of the Golden Gate Bridge. For many, it also referred to the gold standard of best-in-nation schools and highways. California was No. 1 with a bullet, in the jargon of the pop charts of the day.\u003c/p>\n\u003cp>Fast forward 40 years to 2008, and the luster was gone. How we got there, and here, is recounted in Jason Cohn’s fascinating and insightful documentary, \u003cem>\u003ca href=\"https://firstangryman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The First Angry Man\u003c/a>\u003c/em>. The film airs at 8pm tonight on KQED and 3pm Monday, Oct. 19 on KQED Plus.\u003c/p>\n\u003cp>“We were starting a family in Berkeley around the time when California was in financial free-fall, and the media was talking about California as a failed state,” Cohn recalls. “Meg Whitman was running for governor literally talking about the possibility of filing for bankruptcy. We couldn’t pay our bills, we were furloughing workers, schools had been cut and then cut more. It was clear to me that it wasn’t the kind of problem that could be solved by tightening our belts further.”\u003c/p>\n\u003cp>The schools were broken and infrastructure was falling apart. There was a ton of debate, with most everyone citing Prop. 13 as a central, unalterable factor. \u003c/p>\n\u003cp>“I felt like the conversation ended there,” Cohn says. “And everybody knew what they knew about Prop. 13, which was frankly not very much. It was this thing that had happened 30 years ago and it had cut property taxes. Depending on your ideological starting point, it was the reason you or your parents were able to keep their house or the reason California was in such dire financial circumstances.”\u003c/p>\n\u003cfigure id=\"attachment_13888087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13888087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1536x999.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0.png 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curious about the dearth of actual information about Proposition 13 and its architect and champion, Cohn tracked down a copy of \u003cem>I’m Mad as Hell\u003c/em>, the ghostwritten, self-mythologizing autobiography of Prop. 13 salesman Howard Jarvis. The proposition itself, approved by voters in 1978, amended the state constitution to cap—and effectively reduce—property taxes.\u003c/p>\n\u003cp>“I thought I would make a cheap kind of DIY [film], my wife [producer Camille Servan-Schrieber] and I do all of the work, do all the shooting and all the editing, just do it on the cheap, maybe on credit cards, just on the California problem,” Cohn explains. “Then I read how scholars view it, as a watershed moment that divided two completely different eras in terms of how people think about the role of government. It’s much bigger than taxes, it’s much bigger than California.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first era spans the New Deal, the Great Society and the War on Poverty, when government claimed a mandate to create opportunity and raise people up. That ended with the Reagan era, a period when, as the former California governor put it, government is seen as the problem and not the solution.\u003c/p>\n\u003cp>“We continue to be in this era,” Cohn says, “where there’s a very limited view of what government can do to create economic equality, to limit the savage effects of capitalism, the tendency of capitalism to create massive disparities between the super-rich and everybody else, and it all started here in California in 1978 with this rather limited issue that on its surface didn’t seem like it would be that big. But its impacts, its consequences have been almost immeasurable.”\u003c/p>\n\u003cp>Prop. 13 fever, as it was called, became a national phenomenon. It particularly infected states with an initiative system, but if it could happen in a liberal state like California, it could—and did—happen anywhere.\u003c/p>\n\u003cfigure id=\"attachment_13888086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once Cohn saw archival footage of Howard Jarvis, an unvarnished, seemingly unsophisticated septuagenarian who loved debating, who cheerfully insulted his opponents and played loose with the truth in the service of telling a story with an emotional hook, he realized he had a main character that would hold an audience. (If Jarvis, who died in 1986, sounds a bit Trumpian, check out \u003cem>The First Angry Man\u003c/em>.)\u003c/p>\n\u003cp>The film also has a solid supporting character in Jerry Brown. The governor declined Cohn’s requests for an interview, though he is colorfully represented via period news footage as a smart politician who nonetheless underestimated Jarvis’ populist appeal and strategic chops.\u003c/p>\n\u003cp>While the happy “winners” of Prop. 13’s tax cuts are amply depicted in \u003cem>The First Angry Man\u003c/em>, the losers are represented by the University of California system.\u003c/p>\n\u003cp>“This was a big struggle for us in telling the story because we wanted to show what the consequences of disinvestment in the public sphere have been, and the public sphere is very, very large,” Cohn explains. “You have the option of trying to do a survey: Show potholes in streets and talk to police about being understaffed and show our aging water infrastructure. We could talk about forest management and how we’re making ourselves vulnerable to fires. If you tried to talk about all of them, it would just go on forever and have no focus.”\u003c/p>\n\u003cfigure id=\"attachment_13888085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png\" alt=\"Former California governor Gray Davis, who was recalled by voters, in 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1536x863.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California governor Gray Davis, who was recalled by voters, in ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galvanized by the state’s ongoing cuts to its contribution to public higher education, Cohn and Servan-Schrieber honed in on the far-reaching effects. \u003c/p>\n\u003cp>“In 1978 when Prop. 13 passed, student debt in California was somewhere in the general vicinity of zero dollars,” Cohn notes. “I think it’s $1.5 trillion nationally now. That is a travesty, and a shadow on the economy and a tremendous burden to put on young people and their families. Everyone is affected by this.”\u003c/p>\n\u003cp>In addition to illuminating the lamentable effects of Prop. 13 that, in fact, many people anticipated, the UC section has a second, important function: It pulls \u003cem>The First Angry Man\u003c/em> into the present.\u003c/p>\n\u003cp>“Camille, senior producer Stephen Talbot and I do tend to work in the history realm as documentary filmmakers a lot. One reason we love it is because you’re not chasing your tail all the time: ‘Oh, this just happened and we have to run out and film that,’ because your story’s changing day by day. When you’re doing a history film, you can almost write your script before you start shooting. That said, what’s the point in doing a history film that has no relevance to the current day? If it doesn’t tell you something about the world we live in now, there’s no point in watching it, and there’s no point in making a film that nobody wants to watch.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link1": "https://www.kqed.org/voterguide/proposition-15-business-property-taxes,Proposition 15: Should taxes on commercial and industrial property be raised to generate billions of dollars a year for schools and local government services?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it’s fortuitous, if not prescient, that the filmmakers incorporated race as a theme. Without suggesting that voters for Prop. 13 were racist—although Jarvis wasn’t shy about using dog whistles to rouse his supporters’ enthusiasm—\u003cem>The First Angry Man\u003c/em> notes the growing disapproval for government’s mission to affect change by promoting racial equality through affirmative action and fair housing policy. People who are angry at the government are angry about paying taxes.\u003c/p>\n\u003cp>Cohn’s decision to incorporate the role that race played in how people viewed taxation and government in the late 1970s has been vindicated by the events of the last couple years, which exposed the extent to which racial justice and economic justice are meted out unevenly in the United States.\u003c/p>\n\u003cp>“I feel very bad about what’s happened, but it shows that we were telling the right story,” he says.\u003c/p>\n\u003cp>\u003cem>The First Angry Man\u003c/em> doesn’t propose solutions to the problems that stemmed from Prop. 13. It does note that just as California was ahead of the country in anti-tax fervor, we may now be leading the curve to adopt more rational positions about government and taxes. If so, more of what glitters in California will be gold.\u003c/p>\n\u003cp>“We did pass Prop. 30, which was a self-inflicted tax,” Cohn says, referring to the 2012 vote that raised income and sales taxes to pay for schools. “It’s \u003cem>very\u003c/em> unusual in the history of America for voters to beg the government to tax them more. And it passed by a very significant margin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Craig Foster on the Underwater Journey He Took With His 'Octopus Teacher'",
"headTitle": "Craig Foster on the Underwater Journey He Took With His ‘Octopus Teacher’ | KQED",
"content": "\u003cp>A few years ago, South African documentary filmmaker Craig Foster felt burnt out from years of working on arduous nature films. Needing a reset, he returned to the underwater kelp forests off the southwest tip of Cape Town.\u003c/p>\n\u003cp>“My earliest memories, my deepest and most powerful memories were of this incredible coast and diving in what I call ‘my magical childhood forest,’ ” Foster says. “It is one of the greatest ecosystems on this planet.”\u003c/p>\n\u003cp>Foster vowed to dive—without a wetsuit or oxygen tank—every day for a year into the chilly waters near where he grew up. The ocean was sometimes as cold as 46 degrees, but his body gradually adapted.\u003c/p>\n\u003cp>“Day after day, I slowly started to get my energy back and realized that there was this whole new way of looking at this underwater forest. And I started to come alive again,” he says.\u003c/p>\n\u003cp>The waters were teeming with sea creatures, but Foster says his encounters with one particular octopus stood out. Over a series of dives, the octopus began coming out of her den to hunt or explore while Foster watched.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s when I realized: This animal trusts me. She no longer sees me as a threat, and her fear changes to curiosity,” he says. “That’s when the real excitement comes and you think, ‘Oh, my goodness, I’m being let into the secret world of this wild animal’—and that’s when you feel on fire.”\u003c/p>\n\u003cp>Foster chronicles his underwater encounters in the kelp forest in the new Netflix film, \u003cem>My Octopus Teacher,\u003c/em> and the book, \u003ca href=\"https://seachangeproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sea Change\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3s0LTDhqe5A\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the dangers of diving off the western cape of South Africa \u003c/strong>\u003c/p>\n\u003cp>It’s called the “Cape of Storms” for a good reason—enormous waves and some of the biggest surfing waves in the world. And people are scared of sharks and big animals and that kind of thing, which aren’t actually really a danger at all. But the one thing that is very dangerous are these enormous seas. And I have come very close a few times to losing my life and I’ve been sucked into underwater caves. … So if you’re dedicated to diving every day, especially, you have to be very, very careful and try to read the weather very well, try to read the currents and then don’t venture into those very dangerous places during those times. There’s always some little place you can find to get in, which is relatively safe, but it took a while to learn exactly how to do that.\u003c/p>\n\u003cp>\u003cstrong>On why he chooses to free dive—without a wetsuit or oxygen—in these extremely cold waters \u003c/strong>\u003c/p>\n\u003cp>You feel alive, you feel awake, you feel stimulated. But because you can feel that water on your skin, you can feel the slight temperature differences, you feel much closer to nature. You feel more amphibious, in a way. I like to ponder on the amphibious nature of our humanness and diving in this way, with this method, brings out that amphibious nature.\u003c/p>\n\u003cp>At first, it took me quite a long time [to get used to the cold]. … I remember shivering for about a year, every day. And then one day, I just stopped shivering and I was like, “Wow, my body is getting used to this. I can thermoregulate.” And I slowly started to figure out how to keep comfortable and keep warm. And of course, your body adapts. But the interesting thing is, if I’ve had a bad day or I haven’t slept well or I’ve had an injury, I go in the water and it’s very difficult for me to thermoregulate. If I’ve had a great day, I’ve slept well, I’m feeling strong, I can stay in for a very long time, up to two hours. But if I’m compromised mentally, I can sometimes be cold within 20 minutes. … I’ve noticed exactly the same with other people. The cold is a kind of a mirror to how you are feeling mentally.\u003c/p>\n\u003cp>\u003cstrong>On what it’s like diving inside the underwater kelp forest \u003c/strong>\u003c/p>\n\u003cp>It’s truly like being in an underwater forest. … It’s like being in this magical other world that is very different to any world that you might have seen on land, and [there are] animals living in all different levels of the forest. A coral reef is two dimensional in comparison in many ways, and there’s tremendous biodiversity and very exotic animals. And because there’s so many predators, many of these animals are very, very cryptic. So you can easily dive in a forest … and not see an animal that’s been watching you almost every day.\u003c/p>\n\u003cp>The excitement for me has been to slowly uncover the secret lives of many of these cryptic animals. My incredible octopus teacher, she helped me in many ways to uncover many of those lives, because she’s in the middle of this food web. And to know her, you have to know so many animals that she preys on, and of course her predators as well, and then all the scavengers that come to her den. She’s this amazing teacher in many ways for the other lives of the animals in the forest.\u003c/p>\n\u003cfigure id=\"attachment_13887989\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/my-octopus-teacher_octous-walking_craig-foster_wide-bb00e7137b272974cd82f31538c650336bc6edb5-800x450.jpg\" alt=\"The octopus that Craig Foster bonded with while making the 'My Octopus Teacher' documentary.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">“The excitement for me has been to slowly uncover the secret lives of many of these cryptic animals,” says Craig Foster. “My incredible octopus teacher, she helped me in many ways to uncover many of those lives, because she’s in the middle of this food web.” \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> On the octopus “armoring” by covering herself in rocks \u003c/strong>\u003c/p>\n\u003cp>What I found is that octopus, they’ve got all sorts of ways of dealing with predators. And of course, you’d have known about the inking, you know about the whole camouflage and everything. But one of the last resorts that they do, if they’re in the right kind of environment, they will suddenly, very, very quickly pick up up to 70 shells and stones and sometimes even bits of algae and cover their whole body with them by turning their arms over their head because the head is the very sensitive part of an octopus anatomy. And if a predator bites or interferes with the head, there’s often a really big problem. So with the suckers, they pick up all these pieces and then in a very short space of time—in seconds—they cover themselves and they’re suddenly armored.\u003c/p>\n\u003cp>\u003cstrong>On what octopus suckers feel like on your skin \u003c/strong>\u003c/p>\n\u003cp>You’d be surprised how incredibly powerful the suction is, and they are covered in a kind of octopus slime that makes it adhere more strongly, but they are very, very strong. I mean, if you try and pull directly back when that animal is holding you, it’s really very, very difficult and you’d have to force it. So you have to gently twist and turn if you need to go up to have a breath of air, because you don’t want to pull too hard on that animal. So you have to kind of curl and twist to break that incredibly powerful suction.\u003c/p>\n\u003cp>\u003cstrong>On watching the octopus begin to decline \u003c/strong>\u003c/p>\n\u003cp>It was obviously difficult. You get close to an animal like this and I was certainly dreading [her death]. But at the same time, I guess in some ways it’s better than a human death, because it’s quite merciful. It’s quite short. … When she gets to the end of her life, she becomes senescent, senile. So her brain starts to not work so well. So she’s not fully aware of what’s going on, and that brought some comfort.\u003c/p>\n\u003cp>\u003cstrong>On still visiting the octopus’ den after her death and feeling her presence \u003c/strong>\u003c/p>\n\u003cp>She had a few dens but her main den, where she spent most of the time, I went to visit that den today, this morning. It’s a great feeling to go there. I just dive down and kind of silently thank her for this incredible teaching that she’s given me.\u003c/p>\n\u003cp>What happens is once she moves out of the den, it soon fills up completely with sand. So it’s basically just a rock edge. But what’s so interesting is that other octopuses seem to be able to somehow sense exactly where she’s denned and they have made a den in exactly that same place. I’ve seen this at other sites as well. … Maybe they [have] some incredible ability to smell, because then they have to excavate and dig the whole den up; there’s no sign of it having been there. I’m sure in a few weeks or a month I will find another octopus in exactly that same place.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmmaker+Finds+An+Unlikely+Underwater+Friend+In+%27My+Octopus+Teacher%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, South African documentary filmmaker Craig Foster felt burnt out from years of working on arduous nature films. Needing a reset, he returned to the underwater kelp forests off the southwest tip of Cape Town.\u003c/p>\n\u003cp>“My earliest memories, my deepest and most powerful memories were of this incredible coast and diving in what I call ‘my magical childhood forest,’ ” Foster says. “It is one of the greatest ecosystems on this planet.”\u003c/p>\n\u003cp>Foster vowed to dive—without a wetsuit or oxygen tank—every day for a year into the chilly waters near where he grew up. The ocean was sometimes as cold as 46 degrees, but his body gradually adapted.\u003c/p>\n\u003cp>“Day after day, I slowly started to get my energy back and realized that there was this whole new way of looking at this underwater forest. And I started to come alive again,” he says.\u003c/p>\n\u003cp>The waters were teeming with sea creatures, but Foster says his encounters with one particular octopus stood out. Over a series of dives, the octopus began coming out of her den to hunt or explore while Foster watched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s when I realized: This animal trusts me. She no longer sees me as a threat, and her fear changes to curiosity,” he says. “That’s when the real excitement comes and you think, ‘Oh, my goodness, I’m being let into the secret world of this wild animal’—and that’s when you feel on fire.”\u003c/p>\n\u003cp>Foster chronicles his underwater encounters in the kelp forest in the new Netflix film, \u003cem>My Octopus Teacher,\u003c/em> and the book, \u003ca href=\"https://seachangeproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sea Change\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3s0LTDhqe5A'\n title='//www.youtube.com/embed/3s0LTDhqe5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the dangers of diving off the western cape of South Africa \u003c/strong>\u003c/p>\n\u003cp>It’s called the “Cape of Storms” for a good reason—enormous waves and some of the biggest surfing waves in the world. And people are scared of sharks and big animals and that kind of thing, which aren’t actually really a danger at all. But the one thing that is very dangerous are these enormous seas. And I have come very close a few times to losing my life and I’ve been sucked into underwater caves. … So if you’re dedicated to diving every day, especially, you have to be very, very careful and try to read the weather very well, try to read the currents and then don’t venture into those very dangerous places during those times. There’s always some little place you can find to get in, which is relatively safe, but it took a while to learn exactly how to do that.\u003c/p>\n\u003cp>\u003cstrong>On why he chooses to free dive—without a wetsuit or oxygen—in these extremely cold waters \u003c/strong>\u003c/p>\n\u003cp>You feel alive, you feel awake, you feel stimulated. But because you can feel that water on your skin, you can feel the slight temperature differences, you feel much closer to nature. You feel more amphibious, in a way. I like to ponder on the amphibious nature of our humanness and diving in this way, with this method, brings out that amphibious nature.\u003c/p>\n\u003cp>At first, it took me quite a long time [to get used to the cold]. … I remember shivering for about a year, every day. And then one day, I just stopped shivering and I was like, “Wow, my body is getting used to this. I can thermoregulate.” And I slowly started to figure out how to keep comfortable and keep warm. And of course, your body adapts. But the interesting thing is, if I’ve had a bad day or I haven’t slept well or I’ve had an injury, I go in the water and it’s very difficult for me to thermoregulate. If I’ve had a great day, I’ve slept well, I’m feeling strong, I can stay in for a very long time, up to two hours. But if I’m compromised mentally, I can sometimes be cold within 20 minutes. … I’ve noticed exactly the same with other people. The cold is a kind of a mirror to how you are feeling mentally.\u003c/p>\n\u003cp>\u003cstrong>On what it’s like diving inside the underwater kelp forest \u003c/strong>\u003c/p>\n\u003cp>It’s truly like being in an underwater forest. … It’s like being in this magical other world that is very different to any world that you might have seen on land, and [there are] animals living in all different levels of the forest. A coral reef is two dimensional in comparison in many ways, and there’s tremendous biodiversity and very exotic animals. And because there’s so many predators, many of these animals are very, very cryptic. So you can easily dive in a forest … and not see an animal that’s been watching you almost every day.\u003c/p>\n\u003cp>The excitement for me has been to slowly uncover the secret lives of many of these cryptic animals. My incredible octopus teacher, she helped me in many ways to uncover many of those lives, because she’s in the middle of this food web. And to know her, you have to know so many animals that she preys on, and of course her predators as well, and then all the scavengers that come to her den. She’s this amazing teacher in many ways for the other lives of the animals in the forest.\u003c/p>\n\u003cfigure id=\"attachment_13887989\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/my-octopus-teacher_octous-walking_craig-foster_wide-bb00e7137b272974cd82f31538c650336bc6edb5-800x450.jpg\" alt=\"The octopus that Craig Foster bonded with while making the 'My Octopus Teacher' documentary.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">“The excitement for me has been to slowly uncover the secret lives of many of these cryptic animals,” says Craig Foster. “My incredible octopus teacher, she helped me in many ways to uncover many of those lives, because she’s in the middle of this food web.” \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> On the octopus “armoring” by covering herself in rocks \u003c/strong>\u003c/p>\n\u003cp>What I found is that octopus, they’ve got all sorts of ways of dealing with predators. And of course, you’d have known about the inking, you know about the whole camouflage and everything. But one of the last resorts that they do, if they’re in the right kind of environment, they will suddenly, very, very quickly pick up up to 70 shells and stones and sometimes even bits of algae and cover their whole body with them by turning their arms over their head because the head is the very sensitive part of an octopus anatomy. And if a predator bites or interferes with the head, there’s often a really big problem. So with the suckers, they pick up all these pieces and then in a very short space of time—in seconds—they cover themselves and they’re suddenly armored.\u003c/p>\n\u003cp>\u003cstrong>On what octopus suckers feel like on your skin \u003c/strong>\u003c/p>\n\u003cp>You’d be surprised how incredibly powerful the suction is, and they are covered in a kind of octopus slime that makes it adhere more strongly, but they are very, very strong. I mean, if you try and pull directly back when that animal is holding you, it’s really very, very difficult and you’d have to force it. So you have to gently twist and turn if you need to go up to have a breath of air, because you don’t want to pull too hard on that animal. So you have to kind of curl and twist to break that incredibly powerful suction.\u003c/p>\n\u003cp>\u003cstrong>On watching the octopus begin to decline \u003c/strong>\u003c/p>\n\u003cp>It was obviously difficult. You get close to an animal like this and I was certainly dreading [her death]. But at the same time, I guess in some ways it’s better than a human death, because it’s quite merciful. It’s quite short. … When she gets to the end of her life, she becomes senescent, senile. So her brain starts to not work so well. So she’s not fully aware of what’s going on, and that brought some comfort.\u003c/p>\n\u003cp>\u003cstrong>On still visiting the octopus’ den after her death and feeling her presence \u003c/strong>\u003c/p>\n\u003cp>She had a few dens but her main den, where she spent most of the time, I went to visit that den today, this morning. It’s a great feeling to go there. I just dive down and kind of silently thank her for this incredible teaching that she’s given me.\u003c/p>\n\u003cp>What happens is once she moves out of the den, it soon fills up completely with sand. So it’s basically just a rock edge. But what’s so interesting is that other octopuses seem to be able to somehow sense exactly where she’s denned and they have made a den in exactly that same place. I’ve seen this at other sites as well. … Maybe they [have] some incredible ability to smell, because then they have to excavate and dig the whole den up; there’s no sign of it having been there. I’m sure in a few weeks or a month I will find another octopus in exactly that same place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmmaker+Finds+An+Unlikely+Underwater+Friend+In+%27My+Octopus+Teacher%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Totally Under Control’ and ‘Time’ are Two Very 2020 Documentaries | KQED",
"content": "\u003cp>I doubt I’m alone when I say that this year has been a blur: Sometimes it feels like only yesterday that I was going to the office or heading outside without a mask, and sometimes it feels as though an eternity has passed. This past week I watched two absorbing new documentaries that both seem to bend and distort our sense of the passage of time.\u003c/p>\n\u003cp>One of them, which is actually called \u003cem>Time\u003c/em>, spans more than two decades. The other one, titled \u003cem>Totally Under Control,\u003c/em> focuses on the very moment we’re living in.\u003c/p>\n\u003cp>\u003cem>Totally Under Control\u003c/em> is the latest documentary from the prolific Alex Gibney, who directed it with Suzanne Hillinger and Ophelia Harutyunyan. It’s a cool but damning account of our government’s response to the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/09/01/816707182/map-tracking-the-spread-of-the-coronavirus-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 outbreak \u003c/a>that crams several months’ worth of increasingly grim headlines into two hours.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YzTzgf9i4vw\u003c/p>\n\u003cp>While it’s as persuasive and well researched as you’d expect from Gibney, the director of \u003ca href=\"https://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Going Clear \u003c/em>\u003c/a>and \u003cem>Enron: The Smartest Guys in the Room\u003c/em>, it might feel redundant to anyone who’s been glued to the news lately. But it’s still bracing to see the details laid out as forcefully and with such measured anger as they are here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Using socially distanced camera setups to ensure everyone’s safety, the filmmakers sat down with journalists, doctors, health experts and government officials. Nearly all of them agree that a deadly airborne virus capable of asymptomatic transmission would always have posed a formidable threat in the U.S. But they also agree it was the president’s relentless downplaying of that threat and his disdain for science that led us to where we are now, with a devastated economy and more than \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/09/22/911934489/enormous-and-tragic-u-s-has-lost-more-than-200-000-people-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">200,000 Americans dead.\u003c/a>\u003c/p>\n\u003cp>The movie focuses on several key areas where efforts to fight the virus broke down, starting with the technical flaws and bureaucratic logjams, involving the CDC and the FDA, that frustrated early attempts at mass testing. This was followed by \u003ca href=\"https://www.npr.org/2020/03/25/820795727/can-the-u-s-crowdsource-its-way-out-of-a-mask-shortage-no-but-it-still-helps\" target=\"_blank\" rel=\"noopener noreferrer\">shortages of protective equipment\u003c/a> for frontline healthcare workers, not helped by the Trump administration’s refusal to intervene on the states’ behalf. And then of course there’s the ongoing nationwide debate over \u003ca href=\"https://www.npr.org/sections/health-shots/2020/06/21/880832213/yes-wearing-masks-helps-heres-why\" target=\"_blank\" rel=\"noopener noreferrer\">face coverings\u003c/a>; a medical supply executive who says he voted for Trump in 2016 expresses shock that wearing a mask in a pandemic could have become so intensely politicized.\u003c/p>\n\u003cp>The glut of information presented here is dizzying but lucid. We hear about the sidelining of knowledgeable scientists like the CDC’s Dr. Nancy Messonnier and federal vaccine expert \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/10/06/920985099/government-scientist-tops-up-whistle-blower-complaint-and-quits-nih\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Rick Bright \u003c/a>when they tried to sound the alarm. And then there’s the irony that Trump himself \u003ca href=\"https://www.npr.org/sections/latest-updates-trump-covid-19-results/2020/10/03/919898777/timeline-what-we-know-of-president-trumps-covid-19-diagnosis\" target=\"_blank\" rel=\"noopener noreferrer\">tested positive\u003c/a> for the virus just a day after this movie was completed. That’s how fast the news is these days: Even a documentary this urgent, and this obviously timed for the upcoming election, can’t help but feel already out of date.\u003c/p>\n\u003cp>Even with its occasional repetitions and oversights, \u003cem>Totally Under Control \u003c/em>gripped me from moment to moment. In a very different way, so did \u003cem>Time\u003c/em>, the first documentary feature directed by Garrett Bradley. It’s a co-production between \u003cem>The New York Times\u003c/em> and Amazon Studios, and it’s one of the most sublime and beautiful documentaries I’ve seen this year.\u003c/p>\n\u003cp>At the heart of \u003cem>Time \u003c/em>is a Black woman named Sibil Fox Richardson, who goes by Fox Rich. In 1997 she planned to open a hip-hop clothing store in Shreveport, La., with her husband, Rob. When an investor backed out, the desperate couple tried to rob a bank. No one was hurt and no money was stolen. Rich, who drove the getaway car, got a plea bargain and served three and a half years. Rob was convicted of armed robbery and sentenced to 60 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kq6Hh07oLvs\u003c/p>\n\u003cp>Rich began shooting videos of herself and of their sons so Rob could catch up with all the little moments he’d missed: birthdays and graduations, amusement park trips and pool parties. It added up to a treasure trove of home-movie footage that Rich handed over to Bradley several years ago.\u003c/p>\n\u003cp>Around the same time, Bradley began filming new footage of Rich, now a successful businesswoman; her now-grown children; and her tireless efforts to secure her husband’s release. The result is this sprawling yet intensely intimate chronicle, shot in black-and-white, of a couple’s enduring love and a family’s 21-year pursuit of justice. In one moving scene, Rich speaks about her thwarted hopes that Rob would be released in time to see his sons grow up.\u003c/p>\n\u003cp>\u003cem>Time \u003c/em>is about the cruelty of growing up without a father and growing older without a husband. It’s also about the injustice of a prison system that Rich has spent much of the past two decades speaking out against—by filing appeals and making phone calls on her husband’s behalf, and by giving speeches for the benefit of other people in similar situations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without revealing the outcome of the story, I’ll say that I found it emotionally overwhelming both times I watched the movie—at Sundance earlier this year, where it won a directing prize, and again at home this past week. It runs a short 81 minutes, but by the end, you feel so acutely connected to this family’s joy and pain that years really do seem to have passed. I cherished every moment of this movie, because each one stands in for so many others that have been lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Totally+Under+Control%27+And+%27Time%27+Are+Two+Very+2020+Documentaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I doubt I’m alone when I say that this year has been a blur: Sometimes it feels like only yesterday that I was going to the office or heading outside without a mask, and sometimes it feels as though an eternity has passed. This past week I watched two absorbing new documentaries that both seem to bend and distort our sense of the passage of time.\u003c/p>\n\u003cp>One of them, which is actually called \u003cem>Time\u003c/em>, spans more than two decades. The other one, titled \u003cem>Totally Under Control,\u003c/em> focuses on the very moment we’re living in.\u003c/p>\n\u003cp>\u003cem>Totally Under Control\u003c/em> is the latest documentary from the prolific Alex Gibney, who directed it with Suzanne Hillinger and Ophelia Harutyunyan. It’s a cool but damning account of our government’s response to the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/09/01/816707182/map-tracking-the-spread-of-the-coronavirus-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 outbreak \u003c/a>that crams several months’ worth of increasingly grim headlines into two hours.\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/YzTzgf9i4vw'\n title='//www.youtube.com/embed/YzTzgf9i4vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s as persuasive and well researched as you’d expect from Gibney, the director of \u003ca href=\"https://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Going Clear \u003c/em>\u003c/a>and \u003cem>Enron: The Smartest Guys in the Room\u003c/em>, it might feel redundant to anyone who’s been glued to the news lately. But it’s still bracing to see the details laid out as forcefully and with such measured anger as they are here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using socially distanced camera setups to ensure everyone’s safety, the filmmakers sat down with journalists, doctors, health experts and government officials. Nearly all of them agree that a deadly airborne virus capable of asymptomatic transmission would always have posed a formidable threat in the U.S. But they also agree it was the president’s relentless downplaying of that threat and his disdain for science that led us to where we are now, with a devastated economy and more than \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/09/22/911934489/enormous-and-tragic-u-s-has-lost-more-than-200-000-people-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">200,000 Americans dead.\u003c/a>\u003c/p>\n\u003cp>The movie focuses on several key areas where efforts to fight the virus broke down, starting with the technical flaws and bureaucratic logjams, involving the CDC and the FDA, that frustrated early attempts at mass testing. This was followed by \u003ca href=\"https://www.npr.org/2020/03/25/820795727/can-the-u-s-crowdsource-its-way-out-of-a-mask-shortage-no-but-it-still-helps\" target=\"_blank\" rel=\"noopener noreferrer\">shortages of protective equipment\u003c/a> for frontline healthcare workers, not helped by the Trump administration’s refusal to intervene on the states’ behalf. And then of course there’s the ongoing nationwide debate over \u003ca href=\"https://www.npr.org/sections/health-shots/2020/06/21/880832213/yes-wearing-masks-helps-heres-why\" target=\"_blank\" rel=\"noopener noreferrer\">face coverings\u003c/a>; a medical supply executive who says he voted for Trump in 2016 expresses shock that wearing a mask in a pandemic could have become so intensely politicized.\u003c/p>\n\u003cp>The glut of information presented here is dizzying but lucid. We hear about the sidelining of knowledgeable scientists like the CDC’s Dr. Nancy Messonnier and federal vaccine expert \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/10/06/920985099/government-scientist-tops-up-whistle-blower-complaint-and-quits-nih\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Rick Bright \u003c/a>when they tried to sound the alarm. And then there’s the irony that Trump himself \u003ca href=\"https://www.npr.org/sections/latest-updates-trump-covid-19-results/2020/10/03/919898777/timeline-what-we-know-of-president-trumps-covid-19-diagnosis\" target=\"_blank\" rel=\"noopener noreferrer\">tested positive\u003c/a> for the virus just a day after this movie was completed. That’s how fast the news is these days: Even a documentary this urgent, and this obviously timed for the upcoming election, can’t help but feel already out of date.\u003c/p>\n\u003cp>Even with its occasional repetitions and oversights, \u003cem>Totally Under Control \u003c/em>gripped me from moment to moment. In a very different way, so did \u003cem>Time\u003c/em>, the first documentary feature directed by Garrett Bradley. It’s a co-production between \u003cem>The New York Times\u003c/em> and Amazon Studios, and it’s one of the most sublime and beautiful documentaries I’ve seen this year.\u003c/p>\n\u003cp>At the heart of \u003cem>Time \u003c/em>is a Black woman named Sibil Fox Richardson, who goes by Fox Rich. In 1997 she planned to open a hip-hop clothing store in Shreveport, La., with her husband, Rob. When an investor backed out, the desperate couple tried to rob a bank. No one was hurt and no money was stolen. Rich, who drove the getaway car, got a plea bargain and served three and a half years. Rob was convicted of armed robbery and sentenced to 60 years.\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/kq6Hh07oLvs'\n title='//www.youtube.com/embed/kq6Hh07oLvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rich began shooting videos of herself and of their sons so Rob could catch up with all the little moments he’d missed: birthdays and graduations, amusement park trips and pool parties. It added up to a treasure trove of home-movie footage that Rich handed over to Bradley several years ago.\u003c/p>\n\u003cp>Around the same time, Bradley began filming new footage of Rich, now a successful businesswoman; her now-grown children; and her tireless efforts to secure her husband’s release. The result is this sprawling yet intensely intimate chronicle, shot in black-and-white, of a couple’s enduring love and a family’s 21-year pursuit of justice. In one moving scene, Rich speaks about her thwarted hopes that Rob would be released in time to see his sons grow up.\u003c/p>\n\u003cp>\u003cem>Time \u003c/em>is about the cruelty of growing up without a father and growing older without a husband. It’s also about the injustice of a prison system that Rich has spent much of the past two decades speaking out against—by filing appeals and making phone calls on her husband’s behalf, and by giving speeches for the benefit of other people in similar situations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without revealing the outcome of the story, I’ll say that I found it emotionally overwhelming both times I watched the movie—at Sundance earlier this year, where it won a directing prize, and again at home this past week. It runs a short 81 minutes, but by the end, you feel so acutely connected to this family’s joy and pain that years really do seem to have passed. I cherished every moment of this movie, because each one stands in for so many others that have been lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Totally+Under+Control%27+And+%27Time%27+Are+Two+Very+2020+Documentaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fall is usually the serious season in the movie business—as in serious themes, not serious money. The big dollars won’t roll in till Halloween horror week and Christmas escapist week, and potentially for a few Oscar wannabes. Barring, that is, an escalated public-health crisis and civil society catastrophe. But we can be optimistic, right?\u003c/p>\n\u003cp>While Hollywood waits, watches and worries about the state of moviegoing, serious documentaries are everywhere. It’s an election-year phenomenon, to be sure: Filmmakers are determined to not just inform people about a social issue, but to drive us to vote. The slender lines between journalism and activism, and activism and diatribes, are in plain sight.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Social Dilemma\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.netflix.com/title/81254224\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a> \u003c/p>\n\u003cp>Jeff Orlowski (\u003cem>Chasing Ice\u003c/em>, \u003cem>Chasing Coral\u003c/em>) constructed his environmental documentaries on breathtaking, globe-hopping visuals, so it’s quite a come-down to be stuck in stark, unfurnished rooms with a parade of earnest talking heads. \u003cem>The Social Dilemma\u003c/em>, which lifts the curtain on the various curses of social media, is especially annoying for those of us who were bored to numbness 20 years ago (or more) by the “wisdom” and “vision” of tech boy wonders with bad haircuts.\u003c/p>\n\u003cp>The filmmaker rounds up a retinue of former executives and high-level engineers from the usual suspect companies who’ve seen the light—actually, the darkness—of algorithmic persuasion, behavioral manipulation, smartphone addiction and adolescent maladjustment. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These successful, smug men (the Greek chorus does include one female techie and a couple female professors, who only serve to underline Silicon Valley’s homogeneity), who profited enormously from the rise of Facebook, Google, Twitter, Pinterest and others, sound the alarm on platforms and devices. Surely it’s coincidental that the mavens now have children whose access to platforms and devices they carefully manage and restrict.\u003c/p>\n\u003cp>As a respite from the parade of interviews, Orlowski intersperses the hokey but effective drama of an imaginary suburban family whose youngest, impressionable members are mesmerized by the beeps, buzzes and likes emitted by their smartphones. \u003cem>The Social Dilemma\u003c/em> makes some valuable points, but Orlowski seems oblivious to a major contradiction: His cautionary immersion in the psychology of manipulation employs a wall-to-wall soundtrack to keep the viewer on edge. \u003c/p>\n\u003cp>Oh, and if you’re wondering, the haircuts haven’t improved since 1995.\u003c/p>\n\u003cfigure id=\"attachment_13886719\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"499\" class=\"size-full wp-image-13886719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-768x319.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Abrams in ‘All In: The Fight For Democracy.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>All In: The Fight for Democracy\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.amazon.com/dp/B08FRSNBLL\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003c/p>\n\u003cp>It can be hard to discern if the numerous political documentaries released in recent weeks are aimed at the hardcore base of informed newsies or the broader population that sees the effects of policies but isn’t interested in the behind-the-scenes battles. Liz Garbus and Lisa Cortés’s documentary about the organized efforts to suppress votes going back to the end of Reconstruction skillfully speaks to both groups.\u003c/p>\n\u003cp>Stacey Abrams, who would have won the election for governor of Georgia two years ago except for her Republican opponent’s multi-pronged strategy to screw hundreds of thousands of voters out of their rights, is our clear-eyed guide through this illuminating, infuriating doc. But author and historian Carol Anderson steals the show as the film’s righteous, impassioned conscience.\u003c/p>\n\u003cp>The Abrams campaign and the theft of that election in broad daylight comprise the emotional climax of \u003cem>All In\u003c/em>. The film’s centerpiece, however, which Garbus and Cortés spotlight with a megawatt bulb, is the Roberts Court’s 2013 gutting of the long-standing Voting Rights Act. A must-see, but keep your blood-pressure medicine nearby.\u003c/p>\n\u003cfigure id=\"attachment_13886720\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Morrison in ‘Miracle in the Desert.’ \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em>\u003c/b>\u003cbr>\nOpens Sept 22 on \u003ca href=\"https://www.miracleinthedesert.com\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>As a transplant from another state, I discovered California’s largest lake from \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>, Chris Metzler and Jeff Springer’s wildly entertaining tale of the boom and bust of a mid-20th-century SoCal leisure spot. They hung out with the forgotten holdovers, beach rats and off-the-grid survivors who stayed in their homes long after the world passed by.\u003c/p>\n\u003cp>Fifteen years on, Greg Bassenian takes a much more sober approach to the same territory. \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> contains the same footage of 1950s water skiers and the snazzy yacht club where Sinatra and other celebrities from Los Angeles (150 miles northwest of the sea) and Palm Springs (30 miles) hung out, but its real concern is ecological and environmental.\u003c/p>\n\u003cp>The Salton Sea keeps shrinking, which means more of the lakebed is exposed, more dust is launched into the air and the public health consequences continue to increase. Bassenian builds a persuasive case for California’s immediate adoption and funding of a plan to increase the sea’s water level, then slides into a sustained harangue for the last 10 minutes of the film. To be fair, his various interviewees’ frustration with the state’s prolonged inaction is completely understandable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The current problem and its solution should rightly command our attention. But I took a second moral from Bassenian’s detailed chronicle of the sea’s origins and evolution, which amounts to a catalog of hubris, corruption, unintended consequences and natural disasters: Man has a way of mucking things up. You guessed it: \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> doesn’t leave you feeling optimistic.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is usually the serious season in the movie business—as in serious themes, not serious money. The big dollars won’t roll in till Halloween horror week and Christmas escapist week, and potentially for a few Oscar wannabes. Barring, that is, an escalated public-health crisis and civil society catastrophe. But we can be optimistic, right?\u003c/p>\n\u003cp>While Hollywood waits, watches and worries about the state of moviegoing, serious documentaries are everywhere. It’s an election-year phenomenon, to be sure: Filmmakers are determined to not just inform people about a social issue, but to drive us to vote. The slender lines between journalism and activism, and activism and diatribes, are in plain sight.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Social Dilemma\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.netflix.com/title/81254224\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a> \u003c/p>\n\u003cp>Jeff Orlowski (\u003cem>Chasing Ice\u003c/em>, \u003cem>Chasing Coral\u003c/em>) constructed his environmental documentaries on breathtaking, globe-hopping visuals, so it’s quite a come-down to be stuck in stark, unfurnished rooms with a parade of earnest talking heads. \u003cem>The Social Dilemma\u003c/em>, which lifts the curtain on the various curses of social media, is especially annoying for those of us who were bored to numbness 20 years ago (or more) by the “wisdom” and “vision” of tech boy wonders with bad haircuts.\u003c/p>\n\u003cp>The filmmaker rounds up a retinue of former executives and high-level engineers from the usual suspect companies who’ve seen the light—actually, the darkness—of algorithmic persuasion, behavioral manipulation, smartphone addiction and adolescent maladjustment. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These successful, smug men (the Greek chorus does include one female techie and a couple female professors, who only serve to underline Silicon Valley’s homogeneity), who profited enormously from the rise of Facebook, Google, Twitter, Pinterest and others, sound the alarm on platforms and devices. Surely it’s coincidental that the mavens now have children whose access to platforms and devices they carefully manage and restrict.\u003c/p>\n\u003cp>As a respite from the parade of interviews, Orlowski intersperses the hokey but effective drama of an imaginary suburban family whose youngest, impressionable members are mesmerized by the beeps, buzzes and likes emitted by their smartphones. \u003cem>The Social Dilemma\u003c/em> makes some valuable points, but Orlowski seems oblivious to a major contradiction: His cautionary immersion in the psychology of manipulation employs a wall-to-wall soundtrack to keep the viewer on edge. \u003c/p>\n\u003cp>Oh, and if you’re wondering, the haircuts haven’t improved since 1995.\u003c/p>\n\u003cfigure id=\"attachment_13886719\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"499\" class=\"size-full wp-image-13886719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-768x319.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Abrams in ‘All In: The Fight For Democracy.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>All In: The Fight for Democracy\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.amazon.com/dp/B08FRSNBLL\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003c/p>\n\u003cp>It can be hard to discern if the numerous political documentaries released in recent weeks are aimed at the hardcore base of informed newsies or the broader population that sees the effects of policies but isn’t interested in the behind-the-scenes battles. Liz Garbus and Lisa Cortés’s documentary about the organized efforts to suppress votes going back to the end of Reconstruction skillfully speaks to both groups.\u003c/p>\n\u003cp>Stacey Abrams, who would have won the election for governor of Georgia two years ago except for her Republican opponent’s multi-pronged strategy to screw hundreds of thousands of voters out of their rights, is our clear-eyed guide through this illuminating, infuriating doc. But author and historian Carol Anderson steals the show as the film’s righteous, impassioned conscience.\u003c/p>\n\u003cp>The Abrams campaign and the theft of that election in broad daylight comprise the emotional climax of \u003cem>All In\u003c/em>. The film’s centerpiece, however, which Garbus and Cortés spotlight with a megawatt bulb, is the Roberts Court’s 2013 gutting of the long-standing Voting Rights Act. A must-see, but keep your blood-pressure medicine nearby.\u003c/p>\n\u003cfigure id=\"attachment_13886720\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Morrison in ‘Miracle in the Desert.’ \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em>\u003c/b>\u003cbr>\nOpens Sept 22 on \u003ca href=\"https://www.miracleinthedesert.com\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>As a transplant from another state, I discovered California’s largest lake from \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>, Chris Metzler and Jeff Springer’s wildly entertaining tale of the boom and bust of a mid-20th-century SoCal leisure spot. They hung out with the forgotten holdovers, beach rats and off-the-grid survivors who stayed in their homes long after the world passed by.\u003c/p>\n\u003cp>Fifteen years on, Greg Bassenian takes a much more sober approach to the same territory. \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> contains the same footage of 1950s water skiers and the snazzy yacht club where Sinatra and other celebrities from Los Angeles (150 miles northwest of the sea) and Palm Springs (30 miles) hung out, but its real concern is ecological and environmental.\u003c/p>\n\u003cp>The Salton Sea keeps shrinking, which means more of the lakebed is exposed, more dust is launched into the air and the public health consequences continue to increase. Bassenian builds a persuasive case for California’s immediate adoption and funding of a plan to increase the sea’s water level, then slides into a sustained harangue for the last 10 minutes of the film. To be fair, his various interviewees’ frustration with the state’s prolonged inaction is completely understandable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The current problem and its solution should rightly command our attention. But I took a second moral from Bassenian’s detailed chronicle of the sea’s origins and evolution, which amounts to a catalog of hubris, corruption, unintended consequences and natural disasters: Man has a way of mucking things up. You guessed it: \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> doesn’t leave you feeling optimistic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Feels Good Man' Traces Pepe the Frog From Hate Symbol to Democracy Icon",
"headTitle": "‘Feels Good Man’ Traces Pepe the Frog From Hate Symbol to Democracy Icon | KQED",
"content": "\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZEiqZWw5vYs\u003c/p>\n\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\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/ZEiqZWw5vYs'\n title='//www.youtube.com/embed/ZEiqZWw5vYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF DocFest’s Escapist Blast of Weird Americana",
"headTitle": "Now Playing! SF DocFest’s Escapist Blast of Weird Americana | KQED",
"content": "\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My lifelong journey with cinema,” Malas tells us, “is one of rebellion against despotism, overcoming obstacles, telling stories no one dares to tell.” That’s a pretty good mantra for SF DocFest.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My lifelong journey with cinema,” Malas tells us, “is one of rebellion against despotism, overcoming obstacles, telling stories no one dares to tell.” That’s a pretty good mantra for SF DocFest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Class Action Park' Remembers the Perils of a Really Good Time",
"headTitle": "‘Class Action Park’ Remembers the Perils of a Really Good Time | KQED",
"content": "\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mqg48h_uKYM\u003c/p>\n\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\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/mqg48h_uKYM'\n title='//www.youtube.com/embed/mqg48h_uKYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Showbiz Kids' Gives Child Actors the Chance to Tell Their Own Stories",
"headTitle": "‘Showbiz Kids’ Gives Child Actors the Chance to Tell Their Own Stories | KQED",
"content": "\u003cp>Evan Rachel Wood says in the new HBO documentary \u003cem>Showbiz Kids\u003c/em> that there’s an easy way to spot a child actor. Just look for anyone who’s good at juggling, or at Hacky Sack—as she puts it, “any kind of weird skill that you had to master by yourself.” Not because child actors are antisocial or friendless, but simply because actors on film sets spend so much time alone, and if you spend a lot of time alone as a kid, these are the kinds of things you teach yourself. It’s one insight among many to be found in this strong new film. (And don’t be fooled by the sort of cheesy-sounding title.)\u003c/p>\n\u003cp>It’s really hard to talk about child actors in a fresh way, because there’s such lore around them. Legend typically has it that they’re all miserable, spoiled, self-destructive, exploited—and some are. What this film sets out to do is weave a number of interview subjects’ stories together to find themes within them, while respecting the fact that they’re all really different. \u003cem>Showbiz Kids \u003c/em>was made by Alex Winter, who you might know best as Bill in the \u003cem>Bill and Ted \u003c/em>movies, but who was also a child actor, mostly in theater. What he’s made here is a perceptive, sensitive film in which actors tell their own stories—some sad, many simply complicated.\u003c/p>\n\u003cp>All these stories start in different ways. Wil Wheaton says his mother was a little too eager for him to act, because of her own frustrated ambitions. But Mara Wilson says she was the one who told her parents she wanted to act, and that it genuinely came from her. Todd Bridges says the same thing. Milla Jovovich’s mother was a Russian movie star in the 1970s, and when the family came to California, Jovovich felt the focus shift to her. Evan Rachel Wood came from an artsy family that treated acting as a lofty profession where it was important to do only “great work.” You hear from Jada Pinkett Smith about starting young but also parenting kids who started young; you hear from Cameron Boyce, a self-described “Disney kid” (from \u003cem>Jessie\u003c/em>) who realizes he’s so well-trained that he’s still hesitant to swear, years after Disney. (One of the sad footnotes of the film is that Boyce, who had been in HBO’s \u003cem>Mrs. Fletcher \u003c/em>and is one of Winter’s most appealing subjects, died in his sleep in mid-2019 following a seizure.)\u003c/p>\n\u003cp>You will certainly get some discussions of things that might seem familiar. There is financial exploitation, there are parents who fail to supervise enough, there are abusive directors. There is the experience of being recognized (Wilson compares it to when the staff sings “Happy Birthday” to you in a restaurant), there are the difficulties in knowing whose treatment of you is genuine and whose is opportunistic, and there are tensions between what parents want and what kids want.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_UnjrCOH-Mw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What stays with you after the documentary is over may be the details. There’s a clip of Wood and Michelle Trachtenberg at an awards ceremony for young performers in 2000. They are on a red carpet, both of them young adolescents. A TV producer stands between them, and a photographer cajoles them to get closer, and ultimately to both pose with their arms wrapped around his elbows, until they’re sort of hanging on him. (Which, by the way, he also seems to find awkward.) Did this event, individually, harm them? There’s no indication that it did. But does getting girls that age to cuddle up to adult men for pictures potentially teach them things it’s dangerous to learn, about how they should interact with powerful people and about whether they’re supposed to obey when they’re told to feign familiarity? Of course. Would it have been easy to find this all very benign? Of course. Winter structures a section of the film about sexualized roles for girls—and the potential for abuse of both girls and boys—with both frankness and restraint, allowing Wood in particular to explain the complexity of wanting film and television to explore the natural sexuality of teenagers without placing inappropriate demands on actors who may be utterly inexperienced in real life.\u003c/p>\n\u003cp>It’s a real thicket of personal and professional challenges, and none of it is past; it’s all ongoing. So Winter also follows two kids who are working on being actors right now (or at least were when he filmed). One, Marc, is an affable young ham who mugs with delight whenever you point a camera at him. His mother has brought him to L.A. for pilot season, and he’s also taking acting classes. Mom and Dad both say all the right things about how it’s entirely up to him whether he wants to do it, and they undoubtedly do ask him, just like they say they do. But through a revealing visit to one of his acting lessons, the question slowly arises: Does this kid want anything to do with \u003cem>acting\u003c/em>, or is that just the most famous way to channel his actual passion, which is \u003cem>clowning\u003c/em>? (I kept wondering whether there’s childhood improv. His energy is extreme improv-guy energy.)\u003c/p>\n\u003cp>The other is Demi Singleton, who’s already had some success. She’s been in \u003cem>School Of Rock \u003c/em>and \u003cem>The Lion King \u003c/em>on Broadway, and in \u003cem>Godfather of Harlem \u003c/em>on television. These two are good choices, because they represent different inflection points happening in real time: the moment when you have to decide how much you want to give up to try to get \u003cem>anything\u003c/em> much to happen, which is where Marc’s parents are, and the moment when you have to decide how much you want to give up to push modest success into major success, which is where Demi and her mother are.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With the more well-known of his subjects, the most powerful choice Winter makes is to simply let them speak for themselves. There are no other talking heads here—no journalists, no psychologists, nobody. People who have often been directed and pushed and molded to varying degrees get a rare opportunity to put their stories in their own words, with the help of a filmmaker who knows how to combine these disparate experiences into something coherent. The result is a chance to get a more rounded sense of people who rarely get this kind of nuanced treatment.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Showbiz+Kids%27+Gives+Child+Actors+The+Chance+To+Tell+Their+Own+Stories&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Evan Rachel Wood says in the new HBO documentary \u003cem>Showbiz Kids\u003c/em> that there’s an easy way to spot a child actor. Just look for anyone who’s good at juggling, or at Hacky Sack—as she puts it, “any kind of weird skill that you had to master by yourself.” Not because child actors are antisocial or friendless, but simply because actors on film sets spend so much time alone, and if you spend a lot of time alone as a kid, these are the kinds of things you teach yourself. It’s one insight among many to be found in this strong new film. (And don’t be fooled by the sort of cheesy-sounding title.)\u003c/p>\n\u003cp>It’s really hard to talk about child actors in a fresh way, because there’s such lore around them. Legend typically has it that they’re all miserable, spoiled, self-destructive, exploited—and some are. What this film sets out to do is weave a number of interview subjects’ stories together to find themes within them, while respecting the fact that they’re all really different. \u003cem>Showbiz Kids \u003c/em>was made by Alex Winter, who you might know best as Bill in the \u003cem>Bill and Ted \u003c/em>movies, but who was also a child actor, mostly in theater. What he’s made here is a perceptive, sensitive film in which actors tell their own stories—some sad, many simply complicated.\u003c/p>\n\u003cp>All these stories start in different ways. Wil Wheaton says his mother was a little too eager for him to act, because of her own frustrated ambitions. But Mara Wilson says she was the one who told her parents she wanted to act, and that it genuinely came from her. Todd Bridges says the same thing. Milla Jovovich’s mother was a Russian movie star in the 1970s, and when the family came to California, Jovovich felt the focus shift to her. Evan Rachel Wood came from an artsy family that treated acting as a lofty profession where it was important to do only “great work.” You hear from Jada Pinkett Smith about starting young but also parenting kids who started young; you hear from Cameron Boyce, a self-described “Disney kid” (from \u003cem>Jessie\u003c/em>) who realizes he’s so well-trained that he’s still hesitant to swear, years after Disney. (One of the sad footnotes of the film is that Boyce, who had been in HBO’s \u003cem>Mrs. Fletcher \u003c/em>and is one of Winter’s most appealing subjects, died in his sleep in mid-2019 following a seizure.)\u003c/p>\n\u003cp>You will certainly get some discussions of things that might seem familiar. There is financial exploitation, there are parents who fail to supervise enough, there are abusive directors. There is the experience of being recognized (Wilson compares it to when the staff sings “Happy Birthday” to you in a restaurant), there are the difficulties in knowing whose treatment of you is genuine and whose is opportunistic, and there are tensions between what parents want and what kids want.\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/_UnjrCOH-Mw'\n title='//www.youtube.com/embed/_UnjrCOH-Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What stays with you after the documentary is over may be the details. There’s a clip of Wood and Michelle Trachtenberg at an awards ceremony for young performers in 2000. They are on a red carpet, both of them young adolescents. A TV producer stands between them, and a photographer cajoles them to get closer, and ultimately to both pose with their arms wrapped around his elbows, until they’re sort of hanging on him. (Which, by the way, he also seems to find awkward.) Did this event, individually, harm them? There’s no indication that it did. But does getting girls that age to cuddle up to adult men for pictures potentially teach them things it’s dangerous to learn, about how they should interact with powerful people and about whether they’re supposed to obey when they’re told to feign familiarity? Of course. Would it have been easy to find this all very benign? Of course. Winter structures a section of the film about sexualized roles for girls—and the potential for abuse of both girls and boys—with both frankness and restraint, allowing Wood in particular to explain the complexity of wanting film and television to explore the natural sexuality of teenagers without placing inappropriate demands on actors who may be utterly inexperienced in real life.\u003c/p>\n\u003cp>It’s a real thicket of personal and professional challenges, and none of it is past; it’s all ongoing. So Winter also follows two kids who are working on being actors right now (or at least were when he filmed). One, Marc, is an affable young ham who mugs with delight whenever you point a camera at him. His mother has brought him to L.A. for pilot season, and he’s also taking acting classes. Mom and Dad both say all the right things about how it’s entirely up to him whether he wants to do it, and they undoubtedly do ask him, just like they say they do. But through a revealing visit to one of his acting lessons, the question slowly arises: Does this kid want anything to do with \u003cem>acting\u003c/em>, or is that just the most famous way to channel his actual passion, which is \u003cem>clowning\u003c/em>? (I kept wondering whether there’s childhood improv. His energy is extreme improv-guy energy.)\u003c/p>\n\u003cp>The other is Demi Singleton, who’s already had some success. She’s been in \u003cem>School Of Rock \u003c/em>and \u003cem>The Lion King \u003c/em>on Broadway, and in \u003cem>Godfather of Harlem \u003c/em>on television. These two are good choices, because they represent different inflection points happening in real time: the moment when you have to decide how much you want to give up to try to get \u003cem>anything\u003c/em> much to happen, which is where Marc’s parents are, and the moment when you have to decide how much you want to give up to push modest success into major success, which is where Demi and her mother are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! A Barbara Lee Doc at the Drive-In and Other Inspiring Tales",
"headTitle": "Now Playing! A Barbara Lee Doc at the Drive-In and Other Inspiring Tales | KQED",
"content": "\u003cp>These days it feels like we’re in the middle of a Hitchcock movie. Hitch’s great innovation was to shock us with evil in broad daylight, then surround and compound the horror with mass complacency. Think of the predatory Uncle Charlie (Joseph Cotten) chatting casually in a Santa Rosa sitting room in \u003cem>Shadow of a Doubt\u003c/em>, or the equally charming serial killer Robert Rusk (Barry Foster) circling a travel agent in her office while London traffic bustles obliviously one floor below in \u003cem>Frenzy\u003c/em>.\u003c/p>\n\u003cp>As they say in Whitechapel, if the metaphor fits, wear it. On the other hand, if your inclination is toward optimism, or better yet resistance, this week brings films to buoy your spirits.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://jfi.org/summer-days\" rel=\"noopener noreferrer\" target=\"_blank\">Cinegogue Summer Days\u003c/a>\u003c/b>\u003cbr>\nJuly 16–19\u003cbr>\nWest Wind Drive-Ins, online\u003c/p>\n\u003cp>Back in mid-April, the Jewish Film Institute announced the postponement of the annual San Francisco Jewish Film Festival from late July to November. While the country steadily devolved day after idiotic day, the festival world sorted out a serviceable alternative to in-person screenings consisting of drive-ins, online viewing and live and prerecorded Q&As. \u003c/p>\n\u003cp>Cinegogue Summer Days opens July 16 with side-by-side screenings at Concord’s West Wind Solano Drive-In of Abby Ginzberg’s eagerly awaited \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> and Oren Jacoby’s \u003cem>On Broadway\u003c/em>, a behind-the-curtain salute to the Great White Way and, implicitly, New York City’s resilience, (\u003cem>On Broadway\u003c/em> also plays the San Jose’s West Wind Capitol Drive-In.) Remarkably, these films and the new restoration of the 1919 Sholem Aleichem adaptation \u003cem>Broken Barriers\u003c/em> on July 18 are the only events requiring a paid ticket.\u003c/p>\n\u003cfigure id=\"attachment_13883340\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13883340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth to Power: Barbara Lee Speaks for Me.’ \u003ccite>(Jewish Film Insitute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a woozy opening, \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> snaps into focus with an in-depth recap of the East Bay Congresswoman’s gutsy dissenting vote in the post-9/11 rush to give President George W. Bush broad war powers. Every year thereafter, Lee introduced a resolution to repeal the Authorization for Use of Military Force and in 2019—in both a validation of the rightness of her vote and a reflection of her ability to win support across the ideological spectrum—the House passed her bill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years earlier, though, Lee enlisted the NAACP to help change the process at San Fernando High in Southern California so the entire student body chose the cheerleaders instead of a cozy committee. (Lee tried out and made the squad, if you had any doubt.) Nonetheless, Lee comes across in the irresistible \u003cem>Truth to Power\u003c/em> neither as a firebrand nor a charismatic leader but as an Everywoman connected to her constituents and committed to achieving funding and results for the poor, the paroled and so many other Americans who don’t have Congress’ ear.\u003c/p>\n\u003cfigure id=\"attachment_13883339\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg\" alt=\"\" width=\"1200\" height=\"802\" class=\"size-full wp-image-13883339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Painted Bird.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>The Painted Bird\u003c/em>\u003c/b>\u003cbr>\nOpens July 17\u003cbr>\n\u003ca href=\"https://www.ifcfilms.com/films/the-painted-bird\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>For its first hour, Václav Marhoul’s stark black-and-white adaptation of Jerzy Kosiński’s novel unfolds in the unpopulated rural backwaters of an unnamed Eastern European country at some unspecified time between the Middle Ages and today. The filmmaker’s cryptic approach allows the saga of a sensitive, vulnerable boy on the road, who encounters all manner of prejudice, casual cruelty (to animals and people) and exploitation, to suggest the plight of present-day refugees. Or, for those in a COVID-19 depression or Cormac McCarthy loop, the collapse of civilization.\u003c/p>\n\u003cp>In due time soldiers from the Second World War turn up, and we gain our bearings. But the boy does not, and we experience the events as he perceives them, in fragments and snapshots like clues—or better yet, a jigsaw puzzle without the cover picture. The puzzle’s meaning doesn’t become clear until enough pieces are put together. In this regard, and in its artfulness and power, \u003cem>The Painted Bird\u003c/em> belongs with the great poetic works of children at war like \u003cem>Diamonds in the Night\u003c/em>, \u003cem>Come and See\u003c/em> and \u003cem>Run, Boy, Run\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Painted Bird\u003c/em>, which premiered last fall at Venice and was the Czech Republic’s official submission for the Academy Award for International Feature Film (it was shortlisted for the Oscar, but wasn’t nominated), presents a bleak but far from nihilistic view of human nature. To those who might find my description (and the film itself) depressing, is it not inspiring that Marhoul could raise the money, first of all, and that he was compelled to create a work of art from such darkness? That is also the boy’s challenge too, ultimately.\u003c/p>\n\u003cp>https://vimeo.com/322378827\u003c/p>\n\u003cp>\u003cb>\u003cem>We Are the Radical Monarchs\u003c/em>\u003c/b>\u003cbr>\nJuly 20\u003cbr>\n\u003ca href=\"https://www.pbs.org/video/trailer-radical-monarchs/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>POV\u003c/i> on KQED\u003c/a>\u003c/p>\n\u003cp>If it’s inspiration you crave, the Oakland girls of color we meet in Linda Goldstein Knowlton’s vibrant documentary will feed your fire. These tweens have developed a strong sense of self not via the typical troop’s old-school accomplishments of knot-tying and fire building but through social-justice activities and grassroots activism. \u003c/p>\n\u003cp>\u003cem>We Are the Radical Monarchs\u003c/em> follows co-founders and working moms Anayvette Martinez and Marilyn Hollinquest over three years as they develop and practice strategies to empower their group members. They are so successful, and there’s so much demand for a program to engage youth of color, that the duo is inundated with requests to start chapters around the country. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the key takeaways from the doc is that a great way for young people to build confidence and skills is to guide them to think beyond themselves. Allying and collaborating with others and being part of a movement is powerful stuff. If you had any concerns about the next generation taking up the torch from Barbara Lee one day, \u003cem>We Are the Radical Monarchs\u003c/em> will make you rest easy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days it feels like we’re in the middle of a Hitchcock movie. Hitch’s great innovation was to shock us with evil in broad daylight, then surround and compound the horror with mass complacency. Think of the predatory Uncle Charlie (Joseph Cotten) chatting casually in a Santa Rosa sitting room in \u003cem>Shadow of a Doubt\u003c/em>, or the equally charming serial killer Robert Rusk (Barry Foster) circling a travel agent in her office while London traffic bustles obliviously one floor below in \u003cem>Frenzy\u003c/em>.\u003c/p>\n\u003cp>As they say in Whitechapel, if the metaphor fits, wear it. On the other hand, if your inclination is toward optimism, or better yet resistance, this week brings films to buoy your spirits.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://jfi.org/summer-days\" rel=\"noopener noreferrer\" target=\"_blank\">Cinegogue Summer Days\u003c/a>\u003c/b>\u003cbr>\nJuly 16–19\u003cbr>\nWest Wind Drive-Ins, online\u003c/p>\n\u003cp>Back in mid-April, the Jewish Film Institute announced the postponement of the annual San Francisco Jewish Film Festival from late July to November. While the country steadily devolved day after idiotic day, the festival world sorted out a serviceable alternative to in-person screenings consisting of drive-ins, online viewing and live and prerecorded Q&As. \u003c/p>\n\u003cp>Cinegogue Summer Days opens July 16 with side-by-side screenings at Concord’s West Wind Solano Drive-In of Abby Ginzberg’s eagerly awaited \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> and Oren Jacoby’s \u003cem>On Broadway\u003c/em>, a behind-the-curtain salute to the Great White Way and, implicitly, New York City’s resilience, (\u003cem>On Broadway\u003c/em> also plays the San Jose’s West Wind Capitol Drive-In.) Remarkably, these films and the new restoration of the 1919 Sholem Aleichem adaptation \u003cem>Broken Barriers\u003c/em> on July 18 are the only events requiring a paid ticket.\u003c/p>\n\u003cfigure id=\"attachment_13883340\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13883340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth to Power: Barbara Lee Speaks for Me.’ \u003ccite>(Jewish Film Insitute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a woozy opening, \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> snaps into focus with an in-depth recap of the East Bay Congresswoman’s gutsy dissenting vote in the post-9/11 rush to give President George W. Bush broad war powers. Every year thereafter, Lee introduced a resolution to repeal the Authorization for Use of Military Force and in 2019—in both a validation of the rightness of her vote and a reflection of her ability to win support across the ideological spectrum—the House passed her bill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years earlier, though, Lee enlisted the NAACP to help change the process at San Fernando High in Southern California so the entire student body chose the cheerleaders instead of a cozy committee. (Lee tried out and made the squad, if you had any doubt.) Nonetheless, Lee comes across in the irresistible \u003cem>Truth to Power\u003c/em> neither as a firebrand nor a charismatic leader but as an Everywoman connected to her constituents and committed to achieving funding and results for the poor, the paroled and so many other Americans who don’t have Congress’ ear.\u003c/p>\n\u003cfigure id=\"attachment_13883339\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg\" alt=\"\" width=\"1200\" height=\"802\" class=\"size-full wp-image-13883339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Painted Bird.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>The Painted Bird\u003c/em>\u003c/b>\u003cbr>\nOpens July 17\u003cbr>\n\u003ca href=\"https://www.ifcfilms.com/films/the-painted-bird\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>For its first hour, Václav Marhoul’s stark black-and-white adaptation of Jerzy Kosiński’s novel unfolds in the unpopulated rural backwaters of an unnamed Eastern European country at some unspecified time between the Middle Ages and today. The filmmaker’s cryptic approach allows the saga of a sensitive, vulnerable boy on the road, who encounters all manner of prejudice, casual cruelty (to animals and people) and exploitation, to suggest the plight of present-day refugees. Or, for those in a COVID-19 depression or Cormac McCarthy loop, the collapse of civilization.\u003c/p>\n\u003cp>In due time soldiers from the Second World War turn up, and we gain our bearings. But the boy does not, and we experience the events as he perceives them, in fragments and snapshots like clues—or better yet, a jigsaw puzzle without the cover picture. The puzzle’s meaning doesn’t become clear until enough pieces are put together. In this regard, and in its artfulness and power, \u003cem>The Painted Bird\u003c/em> belongs with the great poetic works of children at war like \u003cem>Diamonds in the Night\u003c/em>, \u003cem>Come and See\u003c/em> and \u003cem>Run, Boy, Run\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Painted Bird\u003c/em>, which premiered last fall at Venice and was the Czech Republic’s official submission for the Academy Award for International Feature Film (it was shortlisted for the Oscar, but wasn’t nominated), presents a bleak but far from nihilistic view of human nature. To those who might find my description (and the film itself) depressing, is it not inspiring that Marhoul could raise the money, first of all, and that he was compelled to create a work of art from such darkness? That is also the boy’s challenge too, ultimately.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003cem>We Are the Radical Monarchs\u003c/em>\u003c/b>\u003cbr>\nJuly 20\u003cbr>\n\u003ca href=\"https://www.pbs.org/video/trailer-radical-monarchs/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>POV\u003c/i> on KQED\u003c/a>\u003c/p>\n\u003cp>If it’s inspiration you crave, the Oakland girls of color we meet in Linda Goldstein Knowlton’s vibrant documentary will feed your fire. These tweens have developed a strong sense of self not via the typical troop’s old-school accomplishments of knot-tying and fire building but through social-justice activities and grassroots activism. \u003c/p>\n\u003cp>\u003cem>We Are the Radical Monarchs\u003c/em> follows co-founders and working moms Anayvette Martinez and Marilyn Hollinquest over three years as they develop and practice strategies to empower their group members. They are so successful, and there’s so much demand for a program to engage youth of color, that the duo is inundated with requests to start chapters around the country. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the key takeaways from the doc is that a great way for young people to build confidence and skills is to guide them to think beyond themselves. Allying and collaborating with others and being part of a movement is powerful stuff. If you had any concerns about the next generation taking up the torch from Barbara Lee one day, \u003cem>We Are the Radical Monarchs\u003c/em> will make you rest easy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_2KMm49B6pE\u003c/p>\n\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\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/_2KMm49B6pE'\n title='//www.youtube.com/embed/_2KMm49B6pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This List of Books, Films and Podcasts About Racism is a Start, Not a Panacea",
"headTitle": "This List of Books, Films and Podcasts About Racism is a Start, Not a Panacea | KQED",
"content": "\u003cp>As of Friday, 15 of the top 20 bestselling books on Amazon were about race or racism. Earlier this week, \u003cem>Code Switch\u003c/em> was number one on Apple Podcasts—which, \u003ca href=\"https://twitter.com/GeeDee215/status/1268000245214035974\" target=\"_blank\" rel=\"noopener noreferrer\">as host Gene Demby said\u003c/a>, is “dope,” but unfortunately occurred under “soul-crushing circumstances.” And \u003cem>The Help \u003c/em>is trending on Netflix (ahem, a film that \u003ca href=\"https://www.npr.org/2011/08/18/139755308/the-help-draws-audiences-and-ire\" target=\"_blank\" rel=\"noopener noreferrer\">drew immediate ire\u003c/a> upon release).\u003c/p>\n\u003cp>We’re in the middle of one of those awfully predictable news cycles—a video of police killing a black person goes viral, protests ensue and broader America suddenly realizes \u003cem>we need to talk about race. \u003c/em>Of course, while \u003ca href=\"https://slate.com/news-and-politics/2020/05/this-week-has-happened-before.html\" target=\"_blank\" rel=\"noopener noreferrer\">this week has happened before,\u003c/a> it’s also happening on a much larger scale than ever before, with \u003ca href=\"https://www.usatoday.com/in-depth/graphics/2020/06/03/map-protests-wake-george-floyds-death/5310149002/\" target=\"_blank\" rel=\"noopener noreferrer\">demonstrations in all 50 states.\u003c/a>\u003c/p>\n\u003cp>To help people be better allies, lists of antiracist books, films and podcasts are being published in droves. There’s never a bad time to learn, but such a list can become erroneously prescriptive, a balm to centuries-old lacerations that cut deeper than the individual reader. \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">As Lauren Michele Jackson wrote for \u003cem>Vulture,\u003c/em> \u003c/a>“The word [anti-racism] and its nominal equivalent, “anti-racist,” suggests something of a vanity project, where the goal is no longer to learn more about race, power, and capital, but to spring closer to the enlightened order of the antiracist.”\u003c/p>\n\u003cp>So, with that in mind, we’ve compiled a list of books, films and podcasts about systemic racism, acknowledging that they are just books, films and podcasts. You’ll find research on how racism permeates everything from the criminal justice system to health care. We hope you spend some time with these resources (and that you listen to \u003cem>Code Switch—\u003c/em>\u003ca href=\"https://www.npr.org/sections/codeswitch/2020/03/26/820991385/the-very-best-of-code-switch-in-8-episodes\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a list of episodes\u003c/a> to get you started). Information is power—you decide what you do with it.\u003c/p>\n\u003ch3>\u003cstrong>Books\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.mprnews.org/story/2017/10/10/why-are-all-the-black-kids-sitting-together-in-the-cafeteria\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race\u003c/em>\u003c/strong>\u003c/a> by Beverly Daniel Tatum\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This classic text on the psychology of racism was re-released with new content in 2017, 20 years after its original publication. By providing straight talk on self-segregation and inequality in schools, Tatum shows the importance—and possibility—of cross-racial dialogues starting young.\u003c/p>\n\u003cp>\u003ca href=\"https://uncpress.org/book/9781469653662/race-for-profit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership\u003c/em>\u003c/strong>\u003c/a> by Keeanga-Yamahtta Taylor\u003c/p>\n\u003cp>A finalist for the 2020 Pulitzer Prize in History, \u003cem>Race for Profit \u003c/em>chronicles how the Housing and Urban Development Act of 1968 failed to stop racist, exploitative mortgage lending practices. Since the policy was supposed to be a balm to the 1960s uprisings—much like the ones we’re seeing now—it serves as a reminder to remain vigilant when policymakers promise change.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2019/07/27/745925045/book-a-terrible-thing-to-waste\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Terrible Thing to Waste: Environmental Racism and its Assault on the American Mind\u003c/em>\u003c/strong>\u003c/a> by Harriet A. Washington\u003c/p>\n\u003cp>From lead poisoning to toxic waste, Americans of color are disproportionately harmed by environmental hazards. This is detrimental to physical health—air pollution is linked with higher COVID-19 death rates, \u003ca href=\"https://www.hsph.harvard.edu/news/hsph-in-the-news/air-pollution-linked-with-higher-covid-19-death-rates/\" target=\"_blank\" rel=\"noopener noreferrer\">according to Harvard researchers.\u003c/a> But Washington also argues that environmental racism is causing cognitive decline in communities of color. A deconstruction of IQ and an indictment of EPA rollbacks, \u003cem>A Terrible Thing To Waste\u003c/em> is a stirring read.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674979826\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>From the War on Poverty to the War on Crime: The Making of Mass Incarceration in America\u003c/em>\u003c/strong>\u003c/a> by Elizabeth Hinton\u003c/p>\n\u003cp>The origins of mass incarceration—which disproportionately puts black people behind bars—are often pinned on Ronald Reagan and Richard Nixon. But Hinton argues the carceral state was erected “by a consensus of liberals and conservatives who privileged punitive responses to urban problems as a reaction to the civil rights movement.” The 1965 Law Enforcement Assistance Act, part of Lyndon Johnson’s Great Society plan, led to today’s police militarization. This account of history poses relevant questions for today’s land of the free.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/586392678/automating-inequality-how-high-tech-tools-profile-police-and-punish-the-poor\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Automating Inequality: How High-Tech Tools Profile, Police and Punish the Poor\u003c/em>\u003c/strong>\u003c/a> by Virginia Eubanks\u003c/p>\n\u003cp>Algorithms are made by humans, so they are susceptible to human biases. From deciding which neighborhoods get policed to who gets welfare benefits, discrimination has gone digital. By scrutinizing statistical models and telling personal stories, Eubanks shows that machines do not correct racist systems—they only shift blame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/868390203/the-end-of-policing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The End of Policing\u003c/em>\u003c/strong>\u003c/a> by Alex S. Vitale\u003c/p>\n\u003cp>In the wake of high-profile cases of police brutality, the same ideas for reform are trotted out—implicit bias training, body cameras, police-community dialogues. But Vitale argues that this fails to get to the root of the problem—policing itself. While calls to abolish the police are often met with skepticism, academics and activists have long-discussed alternatives to addressing homelessness, domestic disputes and substance abuse. \u003ca href=\"https://www.versobooks.com/books/2817\" target=\"_blank\" rel=\"noopener noreferrer\">A free ebook\u003c/a> of \u003cem>The End of Policing\u003c/em> is available now. (And you can read \u003cem>Code Switch\u003c/em> editor extraordinaire Leah Donnella’s conversation with Vitale \u003ca href=\"https://www.npr.org/sections/codeswitch/2020/06/03/457251670/how-much-do-we-need-the-police\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>)\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyrb.com/products/blackballed?variant=1094927969\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Blackballed: The Black Vote and U.S. Democracy\u003c/em>\u003c/strong>\u003c/a> by Darryl Pinckney\u003c/p>\n\u003cp>As young Americans take to the streets to say black lives matter, they’re often told to vote. While voting is important, it’s also important to remember how black political representation has been chipped away by voter ID laws, gerrymandering and felon disenfranchisement. \u003cem>Blackballed \u003c/em>addresses the struggle for voting rights and for racial equality more broadly, drawing on Pinckney’s own experiences and writings of civil rights leaders to create a complicated picture of black political identity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/358318685/dog-whistle-politics-how-coded-racial-appeals-have-reinvented-racism-and-wrecked\">\u003cstrong>\u003cem>Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class\u003c/em>\u003c/strong>\u003c/a> by Ian Haney López\u003c/p>\n\u003cp>“Entitlement mentality.” “Quotas.” “Welfare queens.” From Barry Goldwater to Bill Clinton to the Tea Party, politicians have relied on racially coded language to win over white voters and decimate social programs. \u003cem>Dog Whistle Politics \u003c/em>makes the case that not only does this strategy endanger people of color, but it also hinders economic mobility for all Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://ugapress.org/book/9780820354750/medical-bondage/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Medical Bondage: Race, Gender, and the Origins of American Gynecology\u003c/em>\u003c/strong>\u003c/a> by Deirdre Cooper Owens\u003c/p>\n\u003cp>The foundational knowledge of American gynecology relied on the exploitation of enslaved black women’s bodies. In \u003cem>Medical Bondage,\u003c/em> Cooper Owens centers the stories of black women that have been overshadowed by the “discoveries” of white male doctors who experimented on them. Baseless theories about black inferiority and higher pain tolerance \u003ca href=\"https://www.pnas.org/content/113/16/4296\" target=\"_blank\" rel=\"noopener noreferrer\">still permeate medical schools today\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://manifold.umn.edu/projects/body-and-soul\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Body and Soul: The Black Panther Party and the Fight against Medical Discrimination\u003c/em>\u003c/strong>\u003c/a> by Alondra Nelson\u003c/p>\n\u003cp>The Black Panther Party is most remembered for its militant action, but health care was also a major pillar of its activism. The People’s Free Medical Clinics tested for hypertension and assisted with housing and employment. Its outreach also brought attention to rampant discrimination within mainstream medicine. Nelson writes that the Black Panther Party understood health as a human right, echoing today’s fight for universal health care. You can \u003ca href=\"https://manifold.umn.edu/read/body-and-soul/section/afa172a4-8eaa-4413-a403-ec76794217e6\" target=\"_blank\" rel=\"noopener noreferrer\">read \u003cem>Body and Soul\u003c/em> online for free.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Films\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>13th\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The U.S. imprisons more people than any other country in the world, and \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/04/30/shrinking-gap-between-number-of-blacks-and-whites-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">a third of U.S. prisoners are black.\u003c/a> In this infuriating documentary, director Ava DuVernay argues that mass incarceration, Jim Crow and slavery are “the three major racialized systems of control adopted in the United States to date.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>I Am Not Your Negro\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Narrated by the words of James Baldwin with the voice of Samuel L. Jackson, \u003cem>I Am Not Your Negro\u003c/em> connects the Civil Rights Movement to Black Lives Matter. Although Baldwin died nearly 30 years before the film’s release, his observations about racial conflict are as incisive today as they were when he made them.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hulu.com/movie/whose-streets-3e8f4b7a-75d4-4484-9843-e665b60e2758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Whose Streets?\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The 2014 killing of 18-year-old Michael Brown by police in Ferguson, Mo. was one of the deaths that sparked the Black Lives Matter movement. Frustrated by media coverage of unrest in Ferguson, co-directors Sabaah Folayan and Damon Davis documented how locals felt about police in riot gear filling their neighborhoods with tear gas. As one resident says, “They don’t tell you the fact that the police showed up to a peaceful candlelight vigil… and boxed them in, and forced them onto a QuikTrip lot.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80184131\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>LA 92\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>LA 92 \u003c/em>is about the Los Angeles riots that occurred in response to the police beating of Rodney King. The film is entirely comprised of archival footage—no talking heads needed. It’s chilling to watch the unrest of nearly 30 years ago, as young people still take to the streets and shout, “No justice, no peace.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80198423\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Teach Us All\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Over 60 years after Brown v. Board of Education, American schools are still segregated. \u003cem>Teach Us All \u003c/em>explains why that is—school choice, residential segregation, biased admissions processes—and talks to advocates working for change. Interspersing interviews from two Little Rock Nine members, the documentary asks how far we’ve really come.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/show/black-america-mlk-and-still-i-rise/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Black America Since MLK: And Still I Rise\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>In this two-part series, Henry Louis Gates, Jr. chronicles the last 50 years of black history through a personal lens. Released days after the 2016 election, some themes of the documentary took on a deeper meaning amid Donald Trump’s win. “Think of the civil rights movement to the present as a second Reconstruction—a 50-year Reconstruction—that ended last night,” Gates said \u003ca href=\"https://www.salon.com/test2/2016/11/12/henry-louis-gates-on-trump-that-election-clearly-represented-a-backlash-against-the-progress-black-people-have-made-since-1965/\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with\u003cem> Salon.\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Podcasts\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/podcasts/floodlines/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Floodlines\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The Atlantic\u003c/em>\u003c/p>\n\u003cp>An audio documentary about the aftermath of Hurricane Katrina, \u003cem>Floodlines \u003c/em>is told from the perspective of four New Orleanians still living with the consequences of governmental neglect. As COVID-19 disproportionately infects and kills Americans of color, the story feels especially relevant. “As a person of color, you always have it in the back of your mind that the government really doesn’t care about you,” said self-described Katrina overcomer Alice Craft-Kerney.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2020/01/23/podcasts/1619-podcast.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>1619\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The New York Times \u003c/em>\u003c/p>\n\u003cp>“In August of 1619, a ship carrying more than 20 enslaved Africans arrived in the English colony of Virginia. America was not yet America, but this was the moment it began.” Hosted by recent Pulitzer Prize winner Nikole Hannah-Jones, the\u003cem> 1619 \u003c/em>audio series chronicles how black people have been central to building American democracy, music, wealth and more.\u003c/p>\n\u003cp>\u003ca href=\"https://aapf.org/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Intersectionality Matters! \u003c/em>\u003c/strong>\u003c/a>from \u003cem>The African American Policy Forum\u003c/em>\u003c/p>\n\u003cp>Hosted by Kimberlé Crenshaw, a leading critical race theorist who coined the term “intersectionality,” this podcast brings the academic term to life. Each episode brings together lively political organizers, journalists and writers. \u003ca href=\"https://soundcloud.com/intersectionality-matters/15-pt-6-under-the-blacklight-covid-in-confinement\" target=\"_blank\" rel=\"noopener noreferrer\">This recent episode\u003c/a> on COVID-19 in prisons and other areas of confinement is a must-listen.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510333/throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Throughline \u003c/em>\u003c/strong>\u003c/a>from\u003cem> NPR\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Every week at \u003cem>Throughline, \u003c/em>our pals Rund Abdelfatah and Ramtin Arablouei “go back in time to understand the present.” To understand the history of systemic racism in America, we recommend “\u003ca href=\"https://www.npr.org/2020/06/03/869046127/american-police\" target=\"_blank\" rel=\"noopener noreferrer\">American Police\u003c/a>,” “\u003ca href=\"https://www.npr.org/2019/08/14/751126384/mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Mass Incarceration\u003c/a>” and “\u003ca href=\"https://www.npr.org/2019/07/24/744884767/milliken-v-bradley\" target=\"_blank\" rel=\"noopener noreferrer\">Milliken v. Bradley\u003c/a>.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=This+List+Of+Books%2C+Films+And+Podcasts+About+Racism+Is+A+Start%2C+Not+A+Panacea&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As of Friday, 15 of the top 20 bestselling books on Amazon were about race or racism. Earlier this week, \u003cem>Code Switch\u003c/em> was number one on Apple Podcasts—which, \u003ca href=\"https://twitter.com/GeeDee215/status/1268000245214035974\" target=\"_blank\" rel=\"noopener noreferrer\">as host Gene Demby said\u003c/a>, is “dope,” but unfortunately occurred under “soul-crushing circumstances.” And \u003cem>The Help \u003c/em>is trending on Netflix (ahem, a film that \u003ca href=\"https://www.npr.org/2011/08/18/139755308/the-help-draws-audiences-and-ire\" target=\"_blank\" rel=\"noopener noreferrer\">drew immediate ire\u003c/a> upon release).\u003c/p>\n\u003cp>We’re in the middle of one of those awfully predictable news cycles—a video of police killing a black person goes viral, protests ensue and broader America suddenly realizes \u003cem>we need to talk about race. \u003c/em>Of course, while \u003ca href=\"https://slate.com/news-and-politics/2020/05/this-week-has-happened-before.html\" target=\"_blank\" rel=\"noopener noreferrer\">this week has happened before,\u003c/a> it’s also happening on a much larger scale than ever before, with \u003ca href=\"https://www.usatoday.com/in-depth/graphics/2020/06/03/map-protests-wake-george-floyds-death/5310149002/\" target=\"_blank\" rel=\"noopener noreferrer\">demonstrations in all 50 states.\u003c/a>\u003c/p>\n\u003cp>To help people be better allies, lists of antiracist books, films and podcasts are being published in droves. There’s never a bad time to learn, but such a list can become erroneously prescriptive, a balm to centuries-old lacerations that cut deeper than the individual reader. \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">As Lauren Michele Jackson wrote for \u003cem>Vulture,\u003c/em> \u003c/a>“The word [anti-racism] and its nominal equivalent, “anti-racist,” suggests something of a vanity project, where the goal is no longer to learn more about race, power, and capital, but to spring closer to the enlightened order of the antiracist.”\u003c/p>\n\u003cp>So, with that in mind, we’ve compiled a list of books, films and podcasts about systemic racism, acknowledging that they are just books, films and podcasts. You’ll find research on how racism permeates everything from the criminal justice system to health care. We hope you spend some time with these resources (and that you listen to \u003cem>Code Switch—\u003c/em>\u003ca href=\"https://www.npr.org/sections/codeswitch/2020/03/26/820991385/the-very-best-of-code-switch-in-8-episodes\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a list of episodes\u003c/a> to get you started). Information is power—you decide what you do with it.\u003c/p>\n\u003ch3>\u003cstrong>Books\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.mprnews.org/story/2017/10/10/why-are-all-the-black-kids-sitting-together-in-the-cafeteria\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race\u003c/em>\u003c/strong>\u003c/a> by Beverly Daniel Tatum\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This classic text on the psychology of racism was re-released with new content in 2017, 20 years after its original publication. By providing straight talk on self-segregation and inequality in schools, Tatum shows the importance—and possibility—of cross-racial dialogues starting young.\u003c/p>\n\u003cp>\u003ca href=\"https://uncpress.org/book/9781469653662/race-for-profit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership\u003c/em>\u003c/strong>\u003c/a> by Keeanga-Yamahtta Taylor\u003c/p>\n\u003cp>A finalist for the 2020 Pulitzer Prize in History, \u003cem>Race for Profit \u003c/em>chronicles how the Housing and Urban Development Act of 1968 failed to stop racist, exploitative mortgage lending practices. Since the policy was supposed to be a balm to the 1960s uprisings—much like the ones we’re seeing now—it serves as a reminder to remain vigilant when policymakers promise change.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2019/07/27/745925045/book-a-terrible-thing-to-waste\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Terrible Thing to Waste: Environmental Racism and its Assault on the American Mind\u003c/em>\u003c/strong>\u003c/a> by Harriet A. Washington\u003c/p>\n\u003cp>From lead poisoning to toxic waste, Americans of color are disproportionately harmed by environmental hazards. This is detrimental to physical health—air pollution is linked with higher COVID-19 death rates, \u003ca href=\"https://www.hsph.harvard.edu/news/hsph-in-the-news/air-pollution-linked-with-higher-covid-19-death-rates/\" target=\"_blank\" rel=\"noopener noreferrer\">according to Harvard researchers.\u003c/a> But Washington also argues that environmental racism is causing cognitive decline in communities of color. A deconstruction of IQ and an indictment of EPA rollbacks, \u003cem>A Terrible Thing To Waste\u003c/em> is a stirring read.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674979826\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>From the War on Poverty to the War on Crime: The Making of Mass Incarceration in America\u003c/em>\u003c/strong>\u003c/a> by Elizabeth Hinton\u003c/p>\n\u003cp>The origins of mass incarceration—which disproportionately puts black people behind bars—are often pinned on Ronald Reagan and Richard Nixon. But Hinton argues the carceral state was erected “by a consensus of liberals and conservatives who privileged punitive responses to urban problems as a reaction to the civil rights movement.” The 1965 Law Enforcement Assistance Act, part of Lyndon Johnson’s Great Society plan, led to today’s police militarization. This account of history poses relevant questions for today’s land of the free.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/586392678/automating-inequality-how-high-tech-tools-profile-police-and-punish-the-poor\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Automating Inequality: How High-Tech Tools Profile, Police and Punish the Poor\u003c/em>\u003c/strong>\u003c/a> by Virginia Eubanks\u003c/p>\n\u003cp>Algorithms are made by humans, so they are susceptible to human biases. From deciding which neighborhoods get policed to who gets welfare benefits, discrimination has gone digital. By scrutinizing statistical models and telling personal stories, Eubanks shows that machines do not correct racist systems—they only shift blame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/868390203/the-end-of-policing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The End of Policing\u003c/em>\u003c/strong>\u003c/a> by Alex S. Vitale\u003c/p>\n\u003cp>In the wake of high-profile cases of police brutality, the same ideas for reform are trotted out—implicit bias training, body cameras, police-community dialogues. But Vitale argues that this fails to get to the root of the problem—policing itself. While calls to abolish the police are often met with skepticism, academics and activists have long-discussed alternatives to addressing homelessness, domestic disputes and substance abuse. \u003ca href=\"https://www.versobooks.com/books/2817\" target=\"_blank\" rel=\"noopener noreferrer\">A free ebook\u003c/a> of \u003cem>The End of Policing\u003c/em> is available now. (And you can read \u003cem>Code Switch\u003c/em> editor extraordinaire Leah Donnella’s conversation with Vitale \u003ca href=\"https://www.npr.org/sections/codeswitch/2020/06/03/457251670/how-much-do-we-need-the-police\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>)\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyrb.com/products/blackballed?variant=1094927969\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Blackballed: The Black Vote and U.S. Democracy\u003c/em>\u003c/strong>\u003c/a> by Darryl Pinckney\u003c/p>\n\u003cp>As young Americans take to the streets to say black lives matter, they’re often told to vote. While voting is important, it’s also important to remember how black political representation has been chipped away by voter ID laws, gerrymandering and felon disenfranchisement. \u003cem>Blackballed \u003c/em>addresses the struggle for voting rights and for racial equality more broadly, drawing on Pinckney’s own experiences and writings of civil rights leaders to create a complicated picture of black political identity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/358318685/dog-whistle-politics-how-coded-racial-appeals-have-reinvented-racism-and-wrecked\">\u003cstrong>\u003cem>Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class\u003c/em>\u003c/strong>\u003c/a> by Ian Haney López\u003c/p>\n\u003cp>“Entitlement mentality.” “Quotas.” “Welfare queens.” From Barry Goldwater to Bill Clinton to the Tea Party, politicians have relied on racially coded language to win over white voters and decimate social programs. \u003cem>Dog Whistle Politics \u003c/em>makes the case that not only does this strategy endanger people of color, but it also hinders economic mobility for all Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://ugapress.org/book/9780820354750/medical-bondage/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Medical Bondage: Race, Gender, and the Origins of American Gynecology\u003c/em>\u003c/strong>\u003c/a> by Deirdre Cooper Owens\u003c/p>\n\u003cp>The foundational knowledge of American gynecology relied on the exploitation of enslaved black women’s bodies. In \u003cem>Medical Bondage,\u003c/em> Cooper Owens centers the stories of black women that have been overshadowed by the “discoveries” of white male doctors who experimented on them. Baseless theories about black inferiority and higher pain tolerance \u003ca href=\"https://www.pnas.org/content/113/16/4296\" target=\"_blank\" rel=\"noopener noreferrer\">still permeate medical schools today\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://manifold.umn.edu/projects/body-and-soul\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Body and Soul: The Black Panther Party and the Fight against Medical Discrimination\u003c/em>\u003c/strong>\u003c/a> by Alondra Nelson\u003c/p>\n\u003cp>The Black Panther Party is most remembered for its militant action, but health care was also a major pillar of its activism. The People’s Free Medical Clinics tested for hypertension and assisted with housing and employment. Its outreach also brought attention to rampant discrimination within mainstream medicine. Nelson writes that the Black Panther Party understood health as a human right, echoing today’s fight for universal health care. You can \u003ca href=\"https://manifold.umn.edu/read/body-and-soul/section/afa172a4-8eaa-4413-a403-ec76794217e6\" target=\"_blank\" rel=\"noopener noreferrer\">read \u003cem>Body and Soul\u003c/em> online for free.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Films\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>13th\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The U.S. imprisons more people than any other country in the world, and \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/04/30/shrinking-gap-between-number-of-blacks-and-whites-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">a third of U.S. prisoners are black.\u003c/a> In this infuriating documentary, director Ava DuVernay argues that mass incarceration, Jim Crow and slavery are “the three major racialized systems of control adopted in the United States to date.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>I Am Not Your Negro\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Narrated by the words of James Baldwin with the voice of Samuel L. Jackson, \u003cem>I Am Not Your Negro\u003c/em> connects the Civil Rights Movement to Black Lives Matter. Although Baldwin died nearly 30 years before the film’s release, his observations about racial conflict are as incisive today as they were when he made them.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hulu.com/movie/whose-streets-3e8f4b7a-75d4-4484-9843-e665b60e2758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Whose Streets?\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The 2014 killing of 18-year-old Michael Brown by police in Ferguson, Mo. was one of the deaths that sparked the Black Lives Matter movement. Frustrated by media coverage of unrest in Ferguson, co-directors Sabaah Folayan and Damon Davis documented how locals felt about police in riot gear filling their neighborhoods with tear gas. As one resident says, “They don’t tell you the fact that the police showed up to a peaceful candlelight vigil… and boxed them in, and forced them onto a QuikTrip lot.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80184131\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>LA 92\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>LA 92 \u003c/em>is about the Los Angeles riots that occurred in response to the police beating of Rodney King. The film is entirely comprised of archival footage—no talking heads needed. It’s chilling to watch the unrest of nearly 30 years ago, as young people still take to the streets and shout, “No justice, no peace.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80198423\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Teach Us All\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Over 60 years after Brown v. Board of Education, American schools are still segregated. \u003cem>Teach Us All \u003c/em>explains why that is—school choice, residential segregation, biased admissions processes—and talks to advocates working for change. Interspersing interviews from two Little Rock Nine members, the documentary asks how far we’ve really come.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/show/black-america-mlk-and-still-i-rise/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Black America Since MLK: And Still I Rise\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>In this two-part series, Henry Louis Gates, Jr. chronicles the last 50 years of black history through a personal lens. Released days after the 2016 election, some themes of the documentary took on a deeper meaning amid Donald Trump’s win. “Think of the civil rights movement to the present as a second Reconstruction—a 50-year Reconstruction—that ended last night,” Gates said \u003ca href=\"https://www.salon.com/test2/2016/11/12/henry-louis-gates-on-trump-that-election-clearly-represented-a-backlash-against-the-progress-black-people-have-made-since-1965/\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with\u003cem> Salon.\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Podcasts\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/podcasts/floodlines/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Floodlines\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The Atlantic\u003c/em>\u003c/p>\n\u003cp>An audio documentary about the aftermath of Hurricane Katrina, \u003cem>Floodlines \u003c/em>is told from the perspective of four New Orleanians still living with the consequences of governmental neglect. As COVID-19 disproportionately infects and kills Americans of color, the story feels especially relevant. “As a person of color, you always have it in the back of your mind that the government really doesn’t care about you,” said self-described Katrina overcomer Alice Craft-Kerney.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2020/01/23/podcasts/1619-podcast.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>1619\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The New York Times \u003c/em>\u003c/p>\n\u003cp>“In August of 1619, a ship carrying more than 20 enslaved Africans arrived in the English colony of Virginia. America was not yet America, but this was the moment it began.” Hosted by recent Pulitzer Prize winner Nikole Hannah-Jones, the\u003cem> 1619 \u003c/em>audio series chronicles how black people have been central to building American democracy, music, wealth and more.\u003c/p>\n\u003cp>\u003ca href=\"https://aapf.org/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Intersectionality Matters! \u003c/em>\u003c/strong>\u003c/a>from \u003cem>The African American Policy Forum\u003c/em>\u003c/p>\n\u003cp>Hosted by Kimberlé Crenshaw, a leading critical race theorist who coined the term “intersectionality,” this podcast brings the academic term to life. Each episode brings together lively political organizers, journalists and writers. \u003ca href=\"https://soundcloud.com/intersectionality-matters/15-pt-6-under-the-blacklight-covid-in-confinement\" target=\"_blank\" rel=\"noopener noreferrer\">This recent episode\u003c/a> on COVID-19 in prisons and other areas of confinement is a must-listen.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510333/throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Throughline \u003c/em>\u003c/strong>\u003c/a>from\u003cem> NPR\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every week at \u003cem>Throughline, \u003c/em>our pals Rund Abdelfatah and Ramtin Arablouei “go back in time to understand the present.” To understand the history of systemic racism in America, we recommend “\u003ca href=\"https://www.npr.org/2020/06/03/869046127/american-police\" target=\"_blank\" rel=\"noopener noreferrer\">American Police\u003c/a>,” “\u003ca href=\"https://www.npr.org/2019/08/14/751126384/mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Mass Incarceration\u003c/a>” and “\u003ca href=\"https://www.npr.org/2019/07/24/744884767/milliken-v-bradley\" target=\"_blank\" rel=\"noopener noreferrer\">Milliken v. Bradley\u003c/a>.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=This+List+Of+Books%2C+Films+And+Podcasts+About+Racism+Is+A+Start%2C+Not+A+Panacea&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Doc of Sculptor Ursula von Rydingsvard Goes ‘Into Her Own’",
"headTitle": "Doc of Sculptor Ursula von Rydingsvard Goes ‘Into Her Own’ | KQED",
"content": "\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\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>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Daniel Traub’s film about the 77-year-old artist showcases both her monumental work and her life. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\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>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"soldout": {
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