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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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"title": "‘Crip Camp’ Recalls Coming of Age Through Activism",
"headTitle": "‘Crip Camp’ Recalls Coming of Age Through Activism | KQED",
"content": "\u003cp>Jim LeBrecht was a life-of-the-party 15-year-old with spina bifida when he got off the bus at Camp Jened. The three-hour ride from his New York City home to the Catskills camp, then in its 20th year of catering specifically to children with disabilities, was fun and strange and, in ways he couldn’t imagine, the first step on a journey that coincided with a societal transformation.\u003c/p>\n\u003cp>LeBrecht’s winning personality and self-aware perspective enroll us immediately in \u003cem>Crip Camp\u003c/em>, the disarming, infuriating and essential documentary co-directed by the longtime East Bay sound designer and local ace Nicole Newnham (\u003cem>The Rape of Europa\u003c/em>). It’s the film we didn’t know we needed, filling a great gap in the history of the civil rights movement that I, at least, didn’t realize existed.\u003c/p>\n\u003cfigure id=\"attachment_13877412\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13877412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Directors Nicole Newnham and Jim LeBrecht. \u003ccite>(Sacha Maric)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Crip Camp\u003c/em> opened the Sundance Film Festival in January, reconnecting the festival with its politically conscious roots, and premieres Wednesday, March 25 on Netflix. A celebratory community screening was planned for SFFILM in April, until the coronavirus forced the festival’s cancellation. You can still cheer and yell at the screen, albeit from the “comfort” of your own home. (You can also yell at the federal government, though you may want to open your window à la a certain \u003ca href=\"https://youtu.be/AS4aiA17YsM\" rel=\"noopener noreferrer\" target=\"_blank\">Howard Beale\u003c/a>.)\u003c/p>\n\u003cp>LeBrecht’s recounting of his various awakenings at hippie-happy Camp Jened in the summer of ’71—romantic and sexual, included—establishes \u003cem>Crip Camp\u003c/em> at the outset as a coming-of-age story, with all the joy, awkwardness, gratifying nostalgia and life lessons one anticipates. It’s a smart strategy in a couple of ways: Through one man’s eyes, we view that period and, more importantly, what it was like to live and to be perceived as “disabled.” We’re in the room, not peering through a window, with people who are alive and irreverent and sensitive and horny and, well, people. \u003c/p>\n\u003cp>Another benefit of this approach is it allows \u003cem>Crip Camp\u003c/em> to avoid earnestness, and the deadly air of a “message film.” Serious subjects are discussed—dependence and independence, the lack of privacy—but they are framed as personal issues, even if every camper deals with them on a daily basis back home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Crip Camp\u003c/em> works wonderfully as a consciousness-raising saga for the first 20 minutes or so, but summer camp (like all good things) has to end. Jimmy LeBrecht returns to high school, goes to the Left Coast (well, San Diego) for college, discovers the Bay Area’s weirdness—a Camp Jened alumnus performs on the Mabuhay Gardens stage in an arresting piece of archival footage—and innovation (Berkeley’s Center for Independent Living gets a shout-out and more), and takes a job after graduation as Berkeley Rep’s resident sound designer.\u003c/p>\n\u003cfigure id=\"attachment_13877414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13877414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann at a rally. \u003ccite>(HolLynn D'Lil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LeBrecht joined Disability in Action in the early ’70s and became an outspoken activist in college. But he humbly and wisely relinquishes the \u003cem>Crip Camp\u003c/em> spotlight to disability advocates like Judy Heumann, a Camp Jened alum who spearheaded the occupation of HEW’s San Francisco office in 1977. Originally a simple protest aimed at pressuring newly appointed and exasperatingly lackadaisical Health, Education and Welfare Secretary Joseph Califano to sign regulations expanding the rights of people with disabilities, it evolved into a major action that lasted more than three weeks. \u003c/p>\n\u003cp>The prime purpose of documentaries, for most people, is education. By that measure, \u003cem>Crip Camp\u003c/em> scores early and often. How had I never heard of the HEW demonstration? Is there a plaque commemorating this milestone in Bay Area activism, or any other acknowledgement?\u003c/p>\n\u003cp>I was baffled by my ignorance of this event, and outraged at the indifference of federal officials to peaceful, reasonable demands. It’s possible that my fury was exacerbated by the current administration’s stonewalling on the coronavirus crisis, which is to say that a good historical documentary is never (just) about the past.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Crip Camp\u003c/em> starts out as a summer frolic with an edge, but it expands into something far, far greater. It’s a major work that continues the long tradition of timeless Bay Area social-issue documentaries, and deserves a place on the shelf alongside, to cite just a few, \u003cem>The Times of Harvey Milk\u003c/em>, \u003cem>Freedom on My Mind\u003c/em>, \u003cem>The Weather Underground\u003c/em> and \u003cem>Brother Outsider: The Life of Bayard Rustin\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jim LeBrecht was a life-of-the-party 15-year-old with spina bifida when he got off the bus at Camp Jened. The three-hour ride from his New York City home to the Catskills camp, then in its 20th year of catering specifically to children with disabilities, was fun and strange and, in ways he couldn’t imagine, the first step on a journey that coincided with a societal transformation.\u003c/p>\n\u003cp>LeBrecht’s winning personality and self-aware perspective enroll us immediately in \u003cem>Crip Camp\u003c/em>, the disarming, infuriating and essential documentary co-directed by the longtime East Bay sound designer and local ace Nicole Newnham (\u003cem>The Rape of Europa\u003c/em>). It’s the film we didn’t know we needed, filling a great gap in the history of the civil rights movement that I, at least, didn’t realize existed.\u003c/p>\n\u003cfigure id=\"attachment_13877412\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13877412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Directors Nicole Newnham and Jim LeBrecht. \u003ccite>(Sacha Maric)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Crip Camp\u003c/em> opened the Sundance Film Festival in January, reconnecting the festival with its politically conscious roots, and premieres Wednesday, March 25 on Netflix. A celebratory community screening was planned for SFFILM in April, until the coronavirus forced the festival’s cancellation. You can still cheer and yell at the screen, albeit from the “comfort” of your own home. (You can also yell at the federal government, though you may want to open your window à la a certain \u003ca href=\"https://youtu.be/AS4aiA17YsM\" rel=\"noopener noreferrer\" target=\"_blank\">Howard Beale\u003c/a>.)\u003c/p>\n\u003cp>LeBrecht’s recounting of his various awakenings at hippie-happy Camp Jened in the summer of ’71—romantic and sexual, included—establishes \u003cem>Crip Camp\u003c/em> at the outset as a coming-of-age story, with all the joy, awkwardness, gratifying nostalgia and life lessons one anticipates. It’s a smart strategy in a couple of ways: Through one man’s eyes, we view that period and, more importantly, what it was like to live and to be perceived as “disabled.” We’re in the room, not peering through a window, with people who are alive and irreverent and sensitive and horny and, well, people. \u003c/p>\n\u003cp>Another benefit of this approach is it allows \u003cem>Crip Camp\u003c/em> to avoid earnestness, and the deadly air of a “message film.” Serious subjects are discussed—dependence and independence, the lack of privacy—but they are framed as personal issues, even if every camper deals with them on a daily basis back home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Crip Camp\u003c/em> works wonderfully as a consciousness-raising saga for the first 20 minutes or so, but summer camp (like all good things) has to end. Jimmy LeBrecht returns to high school, goes to the Left Coast (well, San Diego) for college, discovers the Bay Area’s weirdness—a Camp Jened alumnus performs on the Mabuhay Gardens stage in an arresting piece of archival footage—and innovation (Berkeley’s Center for Independent Living gets a shout-out and more), and takes a job after graduation as Berkeley Rep’s resident sound designer.\u003c/p>\n\u003cfigure id=\"attachment_13877414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13877414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann at a rally. \u003ccite>(HolLynn D'Lil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LeBrecht joined Disability in Action in the early ’70s and became an outspoken activist in college. But he humbly and wisely relinquishes the \u003cem>Crip Camp\u003c/em> spotlight to disability advocates like Judy Heumann, a Camp Jened alum who spearheaded the occupation of HEW’s San Francisco office in 1977. Originally a simple protest aimed at pressuring newly appointed and exasperatingly lackadaisical Health, Education and Welfare Secretary Joseph Califano to sign regulations expanding the rights of people with disabilities, it evolved into a major action that lasted more than three weeks. \u003c/p>\n\u003cp>The prime purpose of documentaries, for most people, is education. By that measure, \u003cem>Crip Camp\u003c/em> scores early and often. How had I never heard of the HEW demonstration? Is there a plaque commemorating this milestone in Bay Area activism, or any other acknowledgement?\u003c/p>\n\u003cp>I was baffled by my ignorance of this event, and outraged at the indifference of federal officials to peaceful, reasonable demands. It’s possible that my fury was exacerbated by the current administration’s stonewalling on the coronavirus crisis, which is to say that a good historical documentary is never (just) about the past.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Crip Camp\u003c/em> starts out as a summer frolic with an edge, but it expands into something far, far greater. It’s a major work that continues the long tradition of timeless Bay Area social-issue documentaries, and deserves a place on the shelf alongside, to cite just a few, \u003cem>The Times of Harvey Milk\u003c/em>, \u003cem>Freedom on My Mind\u003c/em>, \u003cem>The Weather Underground\u003c/em> and \u003cem>Brother Outsider: The Life of Bayard Rustin\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-alice-street-oakland-artist-activists-build-power-by-bridging-communities",
"title": "In ‘Alice Street,’ Oakland Artist-Activists Build Power By Bridging Communities",
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"content": "\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. [aside postID=arts_13861153,arts_13875113,arts_13866026,arts_13861121]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=1lJRPZLuY9c&w=560&h=315]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>\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/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Crooks Go All-Out to Take Home the Grand Fries in HBO's 'McMillions'",
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"content": "\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kK2ZGOsbeqo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. [aside postid='arts_13873021']\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\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=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kK2ZGOsbeqo'\n title='//www.youtube.com/embed/kK2ZGOsbeqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\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=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free",
"headTitle": "In New Documentary ‘Miss Americana,’ Taylor Swift Shows Girls How to Break Free | KQED",
"content": "\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40RsbcFRwNA\u003c/p>\n\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\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/40RsbcFRwNA'\n title='//www.youtube.com/embed/40RsbcFRwNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Great British 'Up' Anthology is Back—and Worried About Brexit",
"headTitle": "The Great British ‘Up’ Anthology is Back—and Worried About Brexit | KQED",
"content": "\u003cp>For better and worse, class pride has always run a deep vein through British society, upstairs and down. Not so the United States, where the mere mention of social class often triggers strenuous manifestos about meritocracy and equal opportunity. Which may be why attempts to reproduce Michael Apted’s long-running \u003cem>Up\u003c/em> anthology—inquiring into the persistence of social hierarchy in post-World War II Britain—have so far failed this side of the Atlantic. For those who think \u003cem>Downton Abbey\u003c/em> is pretty much a documentary, the \u003cem>Up\u003c/em> series is the perfect antidote.\u003c/p>\n\u003cp>Beginning in 1964 with \u003cem>7 Up\u003c/em>, directed for British television by Paul Almond with Apted initially on board as a researcher, the series tracked a cross-section of 14 children from England’s famously rigid class system, with Apted checking in every seven years thereafter to document what and how they were doing. I’m roughly the same age and grew up lower middle class in London, so I’ve followed the series obsessively from soup to nuts. But you don’t have to have been as hooked as I on the anthology (now available as a boxed set) to find your way around the latest, \u003ca href=\"https://www.imdb.com/title/tt8929142/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>63 Up\u003c/em>\u003c/a>, which is studded with flashbacks to catch you up on how the group has fared since we first met them, mingling to frolic and brawl in a grim-looking adventure playground.\u003c/p>\n\u003cp>Inevitably a quiet tempo has settled on the hopes and dreams of these sexagenarians as they answer questions from Apted or go about their business with varying degrees of discomfort under cameras that have dogged them for decades. Some have retired; others contemplate their own mortality as they tell of parents passing away. One is seriously ill; another has died since \u003cem>56 Up\u003c/em>. Most seem content with what they have and express few regrets about what might have been. Luck, love, and loss, triumph and defeat, have beveled the edges of even the most pugnacious and intrepid.\u003c/p>\n\u003cp>Through every installment, Apted has peppered (some say, resentfully, pestered) the group with questions about whether England’s class divisions have grown more permeable. For some the short answer has become versions of “for the love of mike, Michael, quit asking, we are so much more than our station in life.” Apted deserves credit for including their protests.\u003c/p>\n\u003cp>The long answer to his probing is: It’s complicated. Take Tony, the charming, infuriating Cockney child of London’s East End, and the only Upper who frankly enjoys the limelight. As a teenager Tony predicted some of his future with astonishing accuracy, becoming first a jockey and then (“If I’m not good enough”) a cab-driver. Both jobs came to pass, but what Tony couldn’t dream of was that he would one day buy a handsome holiday home in Spain for his growing family and plan to build a resort there. What followed had more to do with the global economy than with his business chops, but today Tony, a proud husband, father, and grandfather who moonlights as a cabbie in TV crime shows, has switched his working-class-Tory affiliation for fear of Brexit, and may cast in his lot with the Green Party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ugw7hUoJ0C0\u003c/p>\n\u003cp>At the other end of the social spectrum we revisit John, at 7 and 14 a snobby, upper-crust brat and easily the least likable of the \u003cem>Up\u003c/em> children. Now tweedy and balding, a considerably mellowed John (who also guessed right that he would become a barrister) is happily retiring to devote himself to charity work in the Balkans with his wife. Our early assumptions about John’s wealth and blue blood turn out to be mistaken, though there’s no doubt that his pricey education has given him more financial security than most of the Uppers.\u003c/p>\n\u003cp>Certainly John hasn’t had to struggle like Symon, the group’s only mixed-race member, who grew up in a children’s home with his friend Paul. At 7 Symon wanted to be a movie star; at 21 he worked a sausage factory assembly line. Without functioning parents, Symon has had a checkered life. What he and Paul (now settled in Australia) have achieved with the support of two good women is by any measure remarkable, as is the fact that they’ve stayed friends. And after some difficult years as a divorced single parent, the congenitally cheerful Sue—one of three East End women who, at 21, gave Apted a brisk mouthful for asking them only family-oriented questions—heads a career counseling unit at London University.\u003c/p>\n\u003cp>And what of Neil, at 7 a bonny lad in a duffel coat skipping down a suburban Liverpool street and by any measure the most beloved of viewers? At 28 we saw him homeless and roaming the British countryside. All I will say is that after a lifetime battling his biology and a less than idyllic childhood, at 63 Neil is not without faith, friends or resources.\u003c/p>\n\u003cp>Every chapter of the \u003cem>Up\u003c/em> series has seen its dropouts, and with the exception of Tony, those who remain express reservations with varying degrees of vehemence. For John, whose early arrogance so antagonized viewers, each new episode has brought “a little pill of poison.” Over time Apted’s questions have grown more personal, but he still queries them about whether they still believe Britain to be a class society. All agree that inequality persists, but they worry less for themselves than for their children, who face cuts to the country’s generous welfare state services, further concentration of wealth in the top tier, the decline of full-time jobs, and most of all the potential ravages of a looming Brexit deal.\u003c/p>\n\u003cp>Like Nick, the farm boy who became a professor in the United States, and Apted, who attended Cambridge University but now lives in America, I found far more career opportunities in the United States than I would have enjoyed in England despite a fancy education. Yet I’ve been struck by the nervousness that any discussion of social stratification inspires among students I’ve taught down the years in American universities. And I miss the stout class solidarity that, however diluted by upward mobility, remains strong among the English working class.\u003c/p>\n\u003cp>British cinema has always had a far more robust tradition than the U.S. of narrative films about the relations between the classes. Documentary offers the same satisfactions of family drama, the common hurts and losses endured and surmounted in movies by Mike Leigh or Ken Loach or the classic post-War Angry Young Men films, while permitting no facile class stereotypes. No one in \u003cem>63 Up\u003c/em> sounds like anybody above or below the salt in \u003cem>Downton Abbey\u003c/em>. We don’t see them gulping endless cups of industrial-strength tea or spending every waking hour down the pub or at the private club.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Apted narrows his focus to the personal more than the overtly political, he has also learned from the Uppers that there is no such thing as an ordinary life; that money and education may carry you far, but that accent and income bracket have little to do with intelligence, wit, or goodness of heart. What’s striking is not just the sturdy durability of family and community, but (camera or no camera) the fundamental decency of just about every participant in this long cultural experiment. Rich or poor, all have ended up devoting themselves to helping others. So ‘bye for now, dear Uppers, and with luck and longevity, see you at \u003cem>70 Up\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once+More%2C+Unto+The+Brits%3A+%2763+Up%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Michael Apted's latest installment of his extended documentary/social experiment—revisiting a brace of British children every seven years—finds them ruminating on life, death and Brexit.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For better and worse, class pride has always run a deep vein through British society, upstairs and down. Not so the United States, where the mere mention of social class often triggers strenuous manifestos about meritocracy and equal opportunity. Which may be why attempts to reproduce Michael Apted’s long-running \u003cem>Up\u003c/em> anthology—inquiring into the persistence of social hierarchy in post-World War II Britain—have so far failed this side of the Atlantic. For those who think \u003cem>Downton Abbey\u003c/em> is pretty much a documentary, the \u003cem>Up\u003c/em> series is the perfect antidote.\u003c/p>\n\u003cp>Beginning in 1964 with \u003cem>7 Up\u003c/em>, directed for British television by Paul Almond with Apted initially on board as a researcher, the series tracked a cross-section of 14 children from England’s famously rigid class system, with Apted checking in every seven years thereafter to document what and how they were doing. I’m roughly the same age and grew up lower middle class in London, so I’ve followed the series obsessively from soup to nuts. But you don’t have to have been as hooked as I on the anthology (now available as a boxed set) to find your way around the latest, \u003ca href=\"https://www.imdb.com/title/tt8929142/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>63 Up\u003c/em>\u003c/a>, which is studded with flashbacks to catch you up on how the group has fared since we first met them, mingling to frolic and brawl in a grim-looking adventure playground.\u003c/p>\n\u003cp>Inevitably a quiet tempo has settled on the hopes and dreams of these sexagenarians as they answer questions from Apted or go about their business with varying degrees of discomfort under cameras that have dogged them for decades. Some have retired; others contemplate their own mortality as they tell of parents passing away. One is seriously ill; another has died since \u003cem>56 Up\u003c/em>. Most seem content with what they have and express few regrets about what might have been. Luck, love, and loss, triumph and defeat, have beveled the edges of even the most pugnacious and intrepid.\u003c/p>\n\u003cp>Through every installment, Apted has peppered (some say, resentfully, pestered) the group with questions about whether England’s class divisions have grown more permeable. For some the short answer has become versions of “for the love of mike, Michael, quit asking, we are so much more than our station in life.” Apted deserves credit for including their protests.\u003c/p>\n\u003cp>The long answer to his probing is: It’s complicated. Take Tony, the charming, infuriating Cockney child of London’s East End, and the only Upper who frankly enjoys the limelight. As a teenager Tony predicted some of his future with astonishing accuracy, becoming first a jockey and then (“If I’m not good enough”) a cab-driver. Both jobs came to pass, but what Tony couldn’t dream of was that he would one day buy a handsome holiday home in Spain for his growing family and plan to build a resort there. What followed had more to do with the global economy than with his business chops, but today Tony, a proud husband, father, and grandfather who moonlights as a cabbie in TV crime shows, has switched his working-class-Tory affiliation for fear of Brexit, and may cast in his lot with the Green Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ugw7hUoJ0C0'\n title='//www.youtube.com/embed/Ugw7hUoJ0C0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the other end of the social spectrum we revisit John, at 7 and 14 a snobby, upper-crust brat and easily the least likable of the \u003cem>Up\u003c/em> children. Now tweedy and balding, a considerably mellowed John (who also guessed right that he would become a barrister) is happily retiring to devote himself to charity work in the Balkans with his wife. Our early assumptions about John’s wealth and blue blood turn out to be mistaken, though there’s no doubt that his pricey education has given him more financial security than most of the Uppers.\u003c/p>\n\u003cp>Certainly John hasn’t had to struggle like Symon, the group’s only mixed-race member, who grew up in a children’s home with his friend Paul. At 7 Symon wanted to be a movie star; at 21 he worked a sausage factory assembly line. Without functioning parents, Symon has had a checkered life. What he and Paul (now settled in Australia) have achieved with the support of two good women is by any measure remarkable, as is the fact that they’ve stayed friends. And after some difficult years as a divorced single parent, the congenitally cheerful Sue—one of three East End women who, at 21, gave Apted a brisk mouthful for asking them only family-oriented questions—heads a career counseling unit at London University.\u003c/p>\n\u003cp>And what of Neil, at 7 a bonny lad in a duffel coat skipping down a suburban Liverpool street and by any measure the most beloved of viewers? At 28 we saw him homeless and roaming the British countryside. All I will say is that after a lifetime battling his biology and a less than idyllic childhood, at 63 Neil is not without faith, friends or resources.\u003c/p>\n\u003cp>Every chapter of the \u003cem>Up\u003c/em> series has seen its dropouts, and with the exception of Tony, those who remain express reservations with varying degrees of vehemence. For John, whose early arrogance so antagonized viewers, each new episode has brought “a little pill of poison.” Over time Apted’s questions have grown more personal, but he still queries them about whether they still believe Britain to be a class society. All agree that inequality persists, but they worry less for themselves than for their children, who face cuts to the country’s generous welfare state services, further concentration of wealth in the top tier, the decline of full-time jobs, and most of all the potential ravages of a looming Brexit deal.\u003c/p>\n\u003cp>Like Nick, the farm boy who became a professor in the United States, and Apted, who attended Cambridge University but now lives in America, I found far more career opportunities in the United States than I would have enjoyed in England despite a fancy education. Yet I’ve been struck by the nervousness that any discussion of social stratification inspires among students I’ve taught down the years in American universities. And I miss the stout class solidarity that, however diluted by upward mobility, remains strong among the English working class.\u003c/p>\n\u003cp>British cinema has always had a far more robust tradition than the U.S. of narrative films about the relations between the classes. Documentary offers the same satisfactions of family drama, the common hurts and losses endured and surmounted in movies by Mike Leigh or Ken Loach or the classic post-War Angry Young Men films, while permitting no facile class stereotypes. No one in \u003cem>63 Up\u003c/em> sounds like anybody above or below the salt in \u003cem>Downton Abbey\u003c/em>. We don’t see them gulping endless cups of industrial-strength tea or spending every waking hour down the pub or at the private club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Apted narrows his focus to the personal more than the overtly political, he has also learned from the Uppers that there is no such thing as an ordinary life; that money and education may carry you far, but that accent and income bracket have little to do with intelligence, wit, or goodness of heart. What’s striking is not just the sturdy durability of family and community, but (camera or no camera) the fundamental decency of just about every participant in this long cultural experiment. Rich or poor, all have ended up devoting themselves to helping others. So ‘bye for now, dear Uppers, and with luck and longevity, see you at \u003cem>70 Up\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once+More%2C+Unto+The+Brits%3A+%2763+Up%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "sf89-doc-opens-the-jewel-box-that-was-san-francisco-30-years-ago",
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"content": "\u003cp>That headline, friends and neighbors, is intended to be slightly provocative and completely ironic. Join me, for just 24 hours, in abandoning the tired cliché that the good old days (especially hereabouts) were all that great.\u003c/p>\n\u003cp>Sure, those of us who’ve lived here for any length of time are convinced that San Francisco used to be a kinder, classier, quirkier and more affordable city. But perhaps that says more about us, and the way human beings react to the inevitability of change, than it says about the city.\u003c/p>\n\u003cp>“I remember my grandparents doing this in the car,” recalls filmmaker Peter Paul Jacques, who grew up in San Diego before relocating at the beginning of 1989 to study film at San Francisco State. “‘That used to be an ostrich farm.’ I’d go ‘Ugh, who cares, Grandma?’ Then you hit 50 and you go, ‘Ohhhh.’” Jacques’ forthcoming documentary, \u003ci>\u003ca href=\"https://www.sf89doc.com/\" rel=\"noopener\" target=\"_blank\">SF89: San Francisco Before the Internet\u003c/a>\u003c/i>, excavates and revisits the San Francisco of the late 1980s and early 1990s, a pivotal era in the lives of Jacques and his friends.\u003c/p>\n\u003cp>Of looking back over a period of massive change, Jacques muses, “What does that do to you inside? I think the theme of change is universal. We romanticize, ‘It used to be so great.’ People come up to me about this film, ‘You’re doing it about San Francisco in the good times.’ Well, it wasn’t that good.” Jacques laughs. “If we weren’t having a major earthquake, there were all kinds of [other] terrible, horrible [things].”\u003c/p>\n\u003cp>https://vimeo.com/363943361\u003c/p>\n\u003cp>The Loma Prieta earthquake that Jacques is referring to shook, rattled, rocked and rolled every creature in the Bay Area 30 years ago today. It immediately became a national story, thanks to the interrupted broadcast of the third game of the Bay Bridge World Series at Candlestick Park. But it took a good deal longer for locals, and the country, to come to terms with the fact that 63 people lost their lives in quake-related events.\u003c/p>\n\u003cp>As Jacques notes, it wasn’t the only unexpected tragedy during that period. The month after the quake, a construction crane collapsed at Kearny and California, killing five people. (“My friend John helped pull people out of that,” Jacques says.) The first Gulf War began a year later. (“I was of draft age and they were talking about [reinstating] the draft. We took to the streets.”) The mass shooting at 101 California that left eight people dead occurred three years after that. (“I was down the street,” Jacques notes.)\u003c/p>\n\u003cp>Of course, for Jacques and his friends, the period was remarkable for quite different reasons. It was a time when a single person could make lattes at a Rincon Center shop for minimum wage and afford rent, food and their nightly drinks at the neighborhood bar. (Jacques lived at Steiner and Fell, for those of you keeping score at home.)\u003c/p>\n\u003cfigure id=\"attachment_13868343\" class=\"wp-caption aligncenter\" style=\"max-width: 905px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KIds.jpg\" alt=\"Vikki Krekler and Peter Jacques in 1989.\" width=\"905\" height=\"706\" class=\"size-full wp-image-13868343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-768x599.jpg 768w\" sizes=\"(max-width: 905px) 100vw, 905px\">\u003cfigcaption class=\"wp-caption-text\">Vikki Krekler and Peter Jacques in 1989. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late ’80s and early ’90s, for him, marked that crucial period in a young person’s life that they think will continue forever. Jacques’ circle of friends were primarily artists, which is to say experimenters and collaborators. Since creative energy, by its nature, is impulsive rather than strategic, nobody was particularly concerned at the time with the future—or the past.\u003c/p>\n\u003cp>Let’s not forget, though, that even then there were folks warning that chain stores were paving over San Francisco’s history and violating its character. I lived at Oak and Ashbury in 1988—just before Jacques arrived—and was awakened one September morning by sirens and smoke. A Thrifty drugstore under construction on Haight Street was in flames, and the tenor of the times was such that it was instantly assumed that an opponent of soulless corporate expansion had torched the building. (It turned out to be arson, in fact.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Peter Paul Jacques']‘Everybody has a San Francisco. It’s the one you found when you got here.’[/pullquote]\u003c/p>\n\u003cp>The bigger point is that whenever you moved to San Francisco, and stepped into the stream that is the ebb, flow and change of a city, that’s your frame of reference.\u003c/p>\n\u003cp>“Someone told me about a book or an article written in 1859 about 1849 saying, ‘\u003cem>That\u003c/em> was the real San Francisco,’” Jacques remarks. “I would say that that is the same everywhere, not just in San Francisco. Any big city has a lore. And whenever you arrive, someone says, ‘Kid, you missed it.’\u003c/p>\n\u003cp>“We were talking about doing [the film] in the form of chapters, and one of the chapters I originally wrote was, ‘You Missed It.’ I started interviewing people about that and I didn’t get a lot of reaction. ‘I don’t remember anyone telling me that.’ Gee, I do. Maybe you weren’t listening.”\u003c/p>\n\u003cp>Jacques has been developing \u003cem>SF89: San Francisco Before the Internet\u003c/em> for several years, his thinking and vision for the project evolving along the way. While he largely relies on interviews with friends and acquaintances from the pre- and post-quake period, he’s clear about the need to reach a cross-generational audience—which means resisting the pitfall of the siren song of nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13868344\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg\" alt=\"The corner of Market and Stockton in 1992.\" width=\"1022\" height=\"700\" class=\"size-full wp-image-13868344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-1020x699.jpg 1020w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Market and Stockton in 1992. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is a type of documentary that I don’t want to make—and there’s nothing wrong with them, it’s just that I want to do something more—and it’s ‘let’s go down Memory Lane.’ What I want to do is something about the emotion of change, and watching it and being part of it, and one minute you’re the younger generation and for way longer you’re not.”\u003c/p>\n\u003cp>Jacques recently completed his last round of interviews, and he’s about to immerse himself in postproduction. Documentaries have a way of shifting their focus in the editing room, as a different story—or a more urgent theme—emerges out of the one the filmmaker conceived. But he imagines a structure in which the past and the present can coexist.\u003c/p>\n\u003cp>“The film could have the veneer of fun nostalgia, because I think that’s going to draw people to want to see it,” he says. “That’s what \u003cem>I\u003c/em> would come for. Lead them in with that, then give them something more nutritious: Let’s put it in the context of life and the world. Everybody has a San Francisco. It’s the one you found when you got here.”\u003c/p>\n\u003cfigure id=\"attachment_13868345\" class=\"wp-caption aligncenter\" style=\"max-width: 1107px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg\" alt=\"Still of Leigh Crow interview from 'SF89.'\" width=\"1107\" height=\"675\" class=\"size-full wp-image-13868345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg 1107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-1020x622.jpg 1020w\" sizes=\"(max-width: 1107px) 100vw, 1107px\">\u003cfigcaption class=\"wp-caption-text\">Still of Leigh Crow interview from ‘SF89.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s that last bit that gives \u003cem>SF89: San Francisco Before the Internet\u003c/em> the potential ability to go beyond Jacques’ peers—let’s call them the ’89ers—and speak to San Francisco’s newest arrivals.\u003c/p>\n\u003cp>“I think a lot of times young people aren’t listening,” Jacques says. “We’re all, ‘It’s ours!’ and you reach your arms around and you grab it and ‘San Francisco is this and this and this and this.’ Then the next generation comes along and theirs is slightly different. So there’s that friction: ‘We don’t do that here.’ And the younger generation says, ‘Well, we do \u003cem>now\u003c/em>.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"headline": "‘SF89’ Doc Opens the Jewel Box That was San Francisco 30 Years Ago",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That headline, friends and neighbors, is intended to be slightly provocative and completely ironic. Join me, for just 24 hours, in abandoning the tired cliché that the good old days (especially hereabouts) were all that great.\u003c/p>\n\u003cp>Sure, those of us who’ve lived here for any length of time are convinced that San Francisco used to be a kinder, classier, quirkier and more affordable city. But perhaps that says more about us, and the way human beings react to the inevitability of change, than it says about the city.\u003c/p>\n\u003cp>“I remember my grandparents doing this in the car,” recalls filmmaker Peter Paul Jacques, who grew up in San Diego before relocating at the beginning of 1989 to study film at San Francisco State. “‘That used to be an ostrich farm.’ I’d go ‘Ugh, who cares, Grandma?’ Then you hit 50 and you go, ‘Ohhhh.’” Jacques’ forthcoming documentary, \u003ci>\u003ca href=\"https://www.sf89doc.com/\" rel=\"noopener\" target=\"_blank\">SF89: San Francisco Before the Internet\u003c/a>\u003c/i>, excavates and revisits the San Francisco of the late 1980s and early 1990s, a pivotal era in the lives of Jacques and his friends.\u003c/p>\n\u003cp>Of looking back over a period of massive change, Jacques muses, “What does that do to you inside? I think the theme of change is universal. We romanticize, ‘It used to be so great.’ People come up to me about this film, ‘You’re doing it about San Francisco in the good times.’ Well, it wasn’t that good.” Jacques laughs. “If we weren’t having a major earthquake, there were all kinds of [other] terrible, horrible [things].”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Loma Prieta earthquake that Jacques is referring to shook, rattled, rocked and rolled every creature in the Bay Area 30 years ago today. It immediately became a national story, thanks to the interrupted broadcast of the third game of the Bay Bridge World Series at Candlestick Park. But it took a good deal longer for locals, and the country, to come to terms with the fact that 63 people lost their lives in quake-related events.\u003c/p>\n\u003cp>As Jacques notes, it wasn’t the only unexpected tragedy during that period. The month after the quake, a construction crane collapsed at Kearny and California, killing five people. (“My friend John helped pull people out of that,” Jacques says.) The first Gulf War began a year later. (“I was of draft age and they were talking about [reinstating] the draft. We took to the streets.”) The mass shooting at 101 California that left eight people dead occurred three years after that. (“I was down the street,” Jacques notes.)\u003c/p>\n\u003cp>Of course, for Jacques and his friends, the period was remarkable for quite different reasons. It was a time when a single person could make lattes at a Rincon Center shop for minimum wage and afford rent, food and their nightly drinks at the neighborhood bar. (Jacques lived at Steiner and Fell, for those of you keeping score at home.)\u003c/p>\n\u003cfigure id=\"attachment_13868343\" class=\"wp-caption aligncenter\" style=\"max-width: 905px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KIds.jpg\" alt=\"Vikki Krekler and Peter Jacques in 1989.\" width=\"905\" height=\"706\" class=\"size-full wp-image-13868343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-768x599.jpg 768w\" sizes=\"(max-width: 905px) 100vw, 905px\">\u003cfigcaption class=\"wp-caption-text\">Vikki Krekler and Peter Jacques in 1989. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late ’80s and early ’90s, for him, marked that crucial period in a young person’s life that they think will continue forever. Jacques’ circle of friends were primarily artists, which is to say experimenters and collaborators. Since creative energy, by its nature, is impulsive rather than strategic, nobody was particularly concerned at the time with the future—or the past.\u003c/p>\n\u003cp>Let’s not forget, though, that even then there were folks warning that chain stores were paving over San Francisco’s history and violating its character. I lived at Oak and Ashbury in 1988—just before Jacques arrived—and was awakened one September morning by sirens and smoke. A Thrifty drugstore under construction on Haight Street was in flames, and the tenor of the times was such that it was instantly assumed that an opponent of soulless corporate expansion had torched the building. (It turned out to be arson, in fact.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘Everybody has a San Francisco. It’s the one you found when you got here.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bigger point is that whenever you moved to San Francisco, and stepped into the stream that is the ebb, flow and change of a city, that’s your frame of reference.\u003c/p>\n\u003cp>“Someone told me about a book or an article written in 1859 about 1849 saying, ‘\u003cem>That\u003c/em> was the real San Francisco,’” Jacques remarks. “I would say that that is the same everywhere, not just in San Francisco. Any big city has a lore. And whenever you arrive, someone says, ‘Kid, you missed it.’\u003c/p>\n\u003cp>“We were talking about doing [the film] in the form of chapters, and one of the chapters I originally wrote was, ‘You Missed It.’ I started interviewing people about that and I didn’t get a lot of reaction. ‘I don’t remember anyone telling me that.’ Gee, I do. Maybe you weren’t listening.”\u003c/p>\n\u003cp>Jacques has been developing \u003cem>SF89: San Francisco Before the Internet\u003c/em> for several years, his thinking and vision for the project evolving along the way. While he largely relies on interviews with friends and acquaintances from the pre- and post-quake period, he’s clear about the need to reach a cross-generational audience—which means resisting the pitfall of the siren song of nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13868344\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg\" alt=\"The corner of Market and Stockton in 1992.\" width=\"1022\" height=\"700\" class=\"size-full wp-image-13868344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-1020x699.jpg 1020w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Market and Stockton in 1992. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is a type of documentary that I don’t want to make—and there’s nothing wrong with them, it’s just that I want to do something more—and it’s ‘let’s go down Memory Lane.’ What I want to do is something about the emotion of change, and watching it and being part of it, and one minute you’re the younger generation and for way longer you’re not.”\u003c/p>\n\u003cp>Jacques recently completed his last round of interviews, and he’s about to immerse himself in postproduction. Documentaries have a way of shifting their focus in the editing room, as a different story—or a more urgent theme—emerges out of the one the filmmaker conceived. But he imagines a structure in which the past and the present can coexist.\u003c/p>\n\u003cp>“The film could have the veneer of fun nostalgia, because I think that’s going to draw people to want to see it,” he says. “That’s what \u003cem>I\u003c/em> would come for. Lead them in with that, then give them something more nutritious: Let’s put it in the context of life and the world. Everybody has a San Francisco. It’s the one you found when you got here.”\u003c/p>\n\u003cfigure id=\"attachment_13868345\" class=\"wp-caption aligncenter\" style=\"max-width: 1107px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg\" alt=\"Still of Leigh Crow interview from 'SF89.'\" width=\"1107\" height=\"675\" class=\"size-full wp-image-13868345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg 1107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-1020x622.jpg 1020w\" sizes=\"(max-width: 1107px) 100vw, 1107px\">\u003cfigcaption class=\"wp-caption-text\">Still of Leigh Crow interview from ‘SF89.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s that last bit that gives \u003cem>SF89: San Francisco Before the Internet\u003c/em> the potential ability to go beyond Jacques’ peers—let’s call them the ’89ers—and speak to San Francisco’s newest arrivals.\u003c/p>\n\u003cp>“I think a lot of times young people aren’t listening,” Jacques says. “We’re all, ‘It’s ours!’ and you reach your arms around and you grab it and ‘San Francisco is this and this and this and this.’ Then the next generation comes along and theirs is slightly different. So there’s that friction: ‘We don’t do that here.’ And the younger generation says, ‘Well, we do \u003cem>now\u003c/em>.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Since 2015, under the threat of the Taliban, Afghan filmmakers Hassan Fazili and Fatima Hussaini, along with their two young daughters, have been on the run for their lives.\u003c/p>\n\u003cp>The family fled Afghanistan after the extremist group had called for Fazili’s death over a film he’d made about one of its commanders.\u003c/p>\n\u003cp>Even as the refugee family navigates a still-incomplete journey—of death threats, discrimination and paralyzing immigration systems—Fazili and Hussaini turn their cameras on themselves and their daughters.\u003c/p>\n\u003cp>Hundreds of hours of footage that Fazili and his family all shot on their three cell phone cameras emerge as the new documentary, \u003cem>Midnight Traveler\u003c/em>.\u003c/p>\n\u003cp>Although the film has already started to roll out in theaters, their journey isn’t over. The family awaits a pending application to remain in Germany, where they’ve been living since April 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTT-duEoRdc\u003c/p>\n\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\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/BTT-duEoRdc'\n title='//www.youtube.com/embed/BTT-duEoRdc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>These days, as far as American music festivals go, you won’t find two more divisive than Coachella and Burning Man. These annual, much-anticipated events are, depending on your perspective, either essential and transformative or insufferably pretentious. Either way, they’ve both seeped into California culture so much that at this point, you’d be hard-pushed to find someone here who doesn’t have an opinion on both.\u003c/p>\n\u003cp>What most people don’t know is that a scrappy 1980s guerrilla music event called \u003ca href=\"https://www.desolationcenter.com/\" target=\"_blank\" rel=\"noopener\">Desolation Center \u003c/a>paved the way for these two behemoths. Prompted by the (now-infamous) overzealous policing of punk rock events in Los Angeles, bands simply trekked out to the desert and played there to avoid unwanted scrutiny. Faithful fans and scene kids followed.\u003c/p>\n\u003cp>Now Stuart Swezey, the man principally responsible for creating and organizing those underground, anarchic events, has directed, produced and written a documentary about them, featuring musicians from bands like Sonic Youth, Minutemen, Meat Puppets, Redd Kross and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C1N_3THskMM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desolation Center\u003c/em> will open at San Francisco’s \u003ca href=\"https://www.roxie.com/ai1ec_event/desolation-center/?instance_id=36303\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> and Berkeley’s \u003ca href=\"https://www.rialtocinemas.com/index.php?location=elmwood&film=2019_desolation\" target=\"_blank\" rel=\"noopener\">Realto Cinemas\u003c/a> on Friday, Sept. 20, playing for seven nights at both. The Sept. 20 screening at the Roxie will also include an after-show discussion moderated by LA journalist \u003ca href=\"https://twitter.com/jbienkahn?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Joseph Bien-Kahn\u003c/a>, featuring Swezy, Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener\">John Law\u003c/a>, Bay Area poet \u003ca href=\"https://www.nomadicpress.org/mawsheinwin\" target=\"_blank\" rel=\"noopener\">Maw Shein Win\u003c/a> and performance artist \u003ca href=\"https://en.wikipedia.org/wiki/Mark_Pauline\" target=\"_blank\" rel=\"noopener\">Mark Pauline\u003c/a>. V. Vale, of\u003ca href=\"https://en.wikipedia.org/wiki/V._Vale\" target=\"_blank\" rel=\"noopener\"> RE/Search Publications\u003c/a> will also appear after the screening on Thursday, Sept. 26.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desolation Center\u003c/em> will open at San Francisco’s \u003ca href=\"https://www.roxie.com/ai1ec_event/desolation-center/?instance_id=36303\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> and Berkeley’s \u003ca href=\"https://www.rialtocinemas.com/index.php?location=elmwood&film=2019_desolation\" target=\"_blank\" rel=\"noopener\">Realto Cinemas\u003c/a> on Friday, Sept. 20, playing for seven nights at both. The Sept. 20 screening at the Roxie will also include an after-show discussion moderated by LA journalist \u003ca href=\"https://twitter.com/jbienkahn?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Joseph Bien-Kahn\u003c/a>, featuring Swezy, Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener\">John Law\u003c/a>, Bay Area poet \u003ca href=\"https://www.nomadicpress.org/mawsheinwin\" target=\"_blank\" rel=\"noopener\">Maw Shein Win\u003c/a> and performance artist \u003ca href=\"https://en.wikipedia.org/wiki/Mark_Pauline\" target=\"_blank\" rel=\"noopener\">Mark Pauline\u003c/a>. V. Vale, of\u003ca href=\"https://en.wikipedia.org/wiki/V._Vale\" target=\"_blank\" rel=\"noopener\"> RE/Search Publications\u003c/a> will also appear after the screening on Thursday, Sept. 26.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'",
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"content": "\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\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/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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