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"content": "\u003cp>One of the most important parts of community healing is assisting individuals directly, one-on-one. And a key aspect for those looking to heal themselves? Helping others.\u003c/p>\n\u003cp>This is as true for the world at large as it is for people who are incarcerated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brentongieser.com/\" target=\"_blank\" rel=\"noopener\">Brenton Gieser\u003c/a>’s documentary film, \u003ci>\u003ca href=\"https://www.the50film.com/\" target=\"_blank\" rel=\"noopener\">The 50\u003c/a>\u003c/i>, currently streaming on Apple TV and Amazon Prime and \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\" target=\"_blank\" rel=\"noopener\">screening at the New Parkway Theatre\u003c/a> in Oakland on April 19, hones in on this idea of mutual assistance by highlighting \u003ca href=\"https://www.cdcr.ca.gov/insidecdcr/2014/04/30/offender-mentor-certification-teaches-inmates-to-help-themselves-others/\" target=\"_blank\" rel=\"noopener\">California’s Offender Mentor Certificate Program (OMPC)\u003c/a> and a few of the men who’ve gone through it.\u003c/p>\n\u003cfigure id=\"attachment_13956043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956043 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg\" alt=\"A scene from the film, 'The 50,' shows a room where men are dressed in state-issued prison clothing while sitting in a circle of chairs and holding a discussion. \" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The 50’ shows men sitting in a circle, sharing thoughts about the healing process. \u003ccite>(Via Brenton Grieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within the film’s first 15 minutes, viewers are brought into the California State Prison in Solano, where the first OMCP program began in 2008. The mentorship program uses the “parallel process,” where men are encouraged to work through their own traumas while simultaneously assisting others. It’s exemplified by people like Anthony Hill, a mentor who is also incarcerated.\u003c/p>\n\u003cp>As he stands in front of a class, Hill illustrates a pyramid on a dry-erase board and identifies common roadblocks people face in addition to the “junk” that informs a person’s core beliefs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way I was raised affects the way I think,” Hill says to a room of other men in blue shirts. “And the way I think is the way I behave, right?” Heads nod as he pinpoints the issues of maintaining a certain image and yearning for acceptance as the catalyst to many peoples’ misguided actions.\u003c/p>\n\u003cp>Hill believes that people are not inherently bad, but rather misled or misinformed by core beliefs gone awry due to childhood trauma. But there’s a solution: on the bottom of the pyramid, Hill adds a layer. “Up under here is some good stuff, because there’s good in everybody,” he says before going around the room, making eye contact and letting each individual know that he sees the good in them.\u003c/p>\n\u003cfigure id=\"attachment_13956044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956044 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16%E2%80%AFAM-800x394.png\" alt=\"Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-800x394.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1020x502.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-768x378.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1536x756.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-2048x1007.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1920x944.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling out this “good stuff” that hides beneath our learned behavior is a universal idea.\u003c/p>\n\u003cp>“We come into this world as — not to get too existential — but as beings that are steeped in goodness,” says filmmaker Brenton Gieser. “And so many people aren’t afforded opportunities to fully actualize that goodness.”\u003c/p>\n\u003cp>Gieser adds that being born into poverty, being of a certain race or inheriting generational family challenges are all obstacles that can make any person deviate from the “good stuff.”\u003c/p>\n\u003cp>“Any level of investigation into our own journeys,” says Gieser, will lead people to “understand moments where innocence was stripped away from us.”\u003c/p>\n\u003cp>At one point, the film’s three main characters Cameron Clark, Al Roensch, and Randy Carter sit down and discuss moments in their childhood where they changed for the worse, while viewers are shown reenactments and visual metaphors related to their stories. Gieser says the goal of these clips isn’t solely to illustrate the stories being told, but to bring audiences into \u003cem>the feeling\u003c/em> of each experience.\u003c/p>\n\u003cfigure id=\"attachment_13956046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956046 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg\" alt=\"A behind the scenes shot of filmmaker Brenton Gieser giving directions on the set of the film 'The 50'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of filmmaker Brenton Gieser giving directions on the set of the film ‘The 50.’ \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one scene, Clark opens up about a time he was incarcerated and exchanged photo albums with a person in the cell adjacent to him. After flipping through the images, he soon realized that the person with whom he’d swapped photo albums was the nephew of the man Clark was incarcerated for murdering.\u003c/p>\n\u003cp>Clark recalls the following day, when the two had a meeting. “This dude walks up to me and kneels down on one knee,” says Clark, as the reenactment shows the two congregating in what’s described as a blindspot on the yard. “I’m looking at him, so I kneel down on one knee.”\u003c/p>\n\u003cp>The nephew of the slain man explained how his uncle used to take him to wrestling matches, illustrating the joy they had together — humanizing him. Clark couldn’t handle it, and abruptly excused himself. But even in leaving, the moment stuck with him, pushing him on his path to examine himself and find the “good stuff.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The 50 | Official Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gW0cb_ZHick?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Clark, no longer incarcerated, is now the \u003ca href=\"https://www.dovebayarea.org/our-story\" target=\"_blank\" rel=\"noopener\">Executive Director of D.O.V.E.\u003c/a>, a non-profit focused on preventing crime and helping those formerly incarcerated to successfully return to the larger society.\u003c/p>\n\u003cp>The film ends as Clark speaks to the graduating class of the 8th session of OMPC, on a day that happens to be the program’s 10th anniversary. Clark encourages the men in the audience by saying that the community needs and misses them, and reminds them that there’s a spot for them when they return.\u003c/p>\n\u003cp>As the film trails off from Clarks’ speech and visuals of graduates, images of others who’ve since transitioned out of prison are shown, as well as their professional titles. An interview with Clark plays as he continues his vocal encouragement to those who’ve been through what he’s been through.\u003c/p>\n\u003cp>“We are experts in the field when it comes to loneliness, hurt and pain,” says Clark, noting that with the right support these people who’ve been incarcerated, who are now mentors and non-profit workers, could go so much further. “We could ultimately become the greatest healers of our society.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 50’ screens on Friday, April 19, at 6 p.m., the New Parkway Theater in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most important parts of community healing is assisting individuals directly, one-on-one. And a key aspect for those looking to heal themselves? Helping others.\u003c/p>\n\u003cp>This is as true for the world at large as it is for people who are incarcerated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brentongieser.com/\" target=\"_blank\" rel=\"noopener\">Brenton Gieser\u003c/a>’s documentary film, \u003ci>\u003ca href=\"https://www.the50film.com/\" target=\"_blank\" rel=\"noopener\">The 50\u003c/a>\u003c/i>, currently streaming on Apple TV and Amazon Prime and \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\" target=\"_blank\" rel=\"noopener\">screening at the New Parkway Theatre\u003c/a> in Oakland on April 19, hones in on this idea of mutual assistance by highlighting \u003ca href=\"https://www.cdcr.ca.gov/insidecdcr/2014/04/30/offender-mentor-certification-teaches-inmates-to-help-themselves-others/\" target=\"_blank\" rel=\"noopener\">California’s Offender Mentor Certificate Program (OMPC)\u003c/a> and a few of the men who’ve gone through it.\u003c/p>\n\u003cfigure id=\"attachment_13956043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956043 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg\" alt=\"A scene from the film, 'The 50,' shows a room where men are dressed in state-issued prison clothing while sitting in a circle of chairs and holding a discussion. \" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The 50’ shows men sitting in a circle, sharing thoughts about the healing process. \u003ccite>(Via Brenton Grieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within the film’s first 15 minutes, viewers are brought into the California State Prison in Solano, where the first OMCP program began in 2008. The mentorship program uses the “parallel process,” where men are encouraged to work through their own traumas while simultaneously assisting others. It’s exemplified by people like Anthony Hill, a mentor who is also incarcerated.\u003c/p>\n\u003cp>As he stands in front of a class, Hill illustrates a pyramid on a dry-erase board and identifies common roadblocks people face in addition to the “junk” that informs a person’s core beliefs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The way I was raised affects the way I think,” Hill says to a room of other men in blue shirts. “And the way I think is the way I behave, right?” Heads nod as he pinpoints the issues of maintaining a certain image and yearning for acceptance as the catalyst to many peoples’ misguided actions.\u003c/p>\n\u003cp>Hill believes that people are not inherently bad, but rather misled or misinformed by core beliefs gone awry due to childhood trauma. But there’s a solution: on the bottom of the pyramid, Hill adds a layer. “Up under here is some good stuff, because there’s good in everybody,” he says before going around the room, making eye contact and letting each individual know that he sees the good in them.\u003c/p>\n\u003cfigure id=\"attachment_13956044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956044 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16%E2%80%AFAM-800x394.png\" alt=\"Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-800x394.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1020x502.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-768x378.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1536x756.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-2048x1007.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1920x944.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling out this “good stuff” that hides beneath our learned behavior is a universal idea.\u003c/p>\n\u003cp>“We come into this world as — not to get too existential — but as beings that are steeped in goodness,” says filmmaker Brenton Gieser. “And so many people aren’t afforded opportunities to fully actualize that goodness.”\u003c/p>\n\u003cp>Gieser adds that being born into poverty, being of a certain race or inheriting generational family challenges are all obstacles that can make any person deviate from the “good stuff.”\u003c/p>\n\u003cp>“Any level of investigation into our own journeys,” says Gieser, will lead people to “understand moments where innocence was stripped away from us.”\u003c/p>\n\u003cp>At one point, the film’s three main characters Cameron Clark, Al Roensch, and Randy Carter sit down and discuss moments in their childhood where they changed for the worse, while viewers are shown reenactments and visual metaphors related to their stories. Gieser says the goal of these clips isn’t solely to illustrate the stories being told, but to bring audiences into \u003cem>the feeling\u003c/em> of each experience.\u003c/p>\n\u003cfigure id=\"attachment_13956046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956046 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg\" alt=\"A behind the scenes shot of filmmaker Brenton Gieser giving directions on the set of the film 'The 50'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of filmmaker Brenton Gieser giving directions on the set of the film ‘The 50.’ \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one scene, Clark opens up about a time he was incarcerated and exchanged photo albums with a person in the cell adjacent to him. After flipping through the images, he soon realized that the person with whom he’d swapped photo albums was the nephew of the man Clark was incarcerated for murdering.\u003c/p>\n\u003cp>Clark recalls the following day, when the two had a meeting. “This dude walks up to me and kneels down on one knee,” says Clark, as the reenactment shows the two congregating in what’s described as a blindspot on the yard. “I’m looking at him, so I kneel down on one knee.”\u003c/p>\n\u003cp>The nephew of the slain man explained how his uncle used to take him to wrestling matches, illustrating the joy they had together — humanizing him. Clark couldn’t handle it, and abruptly excused himself. But even in leaving, the moment stuck with him, pushing him on his path to examine himself and find the “good stuff.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The 50 | Official Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gW0cb_ZHick?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Clark, no longer incarcerated, is now the \u003ca href=\"https://www.dovebayarea.org/our-story\" target=\"_blank\" rel=\"noopener\">Executive Director of D.O.V.E.\u003c/a>, a non-profit focused on preventing crime and helping those formerly incarcerated to successfully return to the larger society.\u003c/p>\n\u003cp>The film ends as Clark speaks to the graduating class of the 8th session of OMPC, on a day that happens to be the program’s 10th anniversary. Clark encourages the men in the audience by saying that the community needs and misses them, and reminds them that there’s a spot for them when they return.\u003c/p>\n\u003cp>As the film trails off from Clarks’ speech and visuals of graduates, images of others who’ve since transitioned out of prison are shown, as well as their professional titles. An interview with Clark plays as he continues his vocal encouragement to those who’ve been through what he’s been through.\u003c/p>\n\u003cp>“We are experts in the field when it comes to loneliness, hurt and pain,” says Clark, noting that with the right support these people who’ve been incarcerated, who are now mentors and non-profit workers, could go so much further. “We could ultimately become the greatest healers of our society.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 50’ screens on Friday, April 19, at 6 p.m., the New Parkway Theater in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Three Eye-Opening Documentaries You Can Stream Right Now",
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"content": "\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M-ppnYEAqSE\u003c/p>\n\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=p1pONvsrBEo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y8Z8xMmly1M\u003c/p>\n\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13954796']We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\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/M-ppnYEAqSE'\n title='//www.youtube.com/embed/M-ppnYEAqSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\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/p1pONvsrBEo'\n title='//www.youtube.com/embed/p1pONvsrBEo'\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>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\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/Y8Z8xMmly1M'\n title='//www.youtube.com/embed/Y8Z8xMmly1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten",
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"content": "\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FSYc-cLZUEs\u003c/p>\n\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"auto, (max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\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/FSYc-cLZUEs'\n title='//www.youtube.com/embed/FSYc-cLZUEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"auto, (max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary",
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"content": "\u003cp>“I’m comfortable being a woman who likes women. I live my life as a man, yes, but the reality does not change. You’re born a woman and that’s how you’re going to die.”\u003c/p>\n\u003cp>So said \u003ca href=\"https://nmaahc.si.edu/lgbtq/marquise-vilson\">Marquise Vilsón\u003c/a>, one of the subjects of 2005 documentary \u003cem>The Aggressives.\u003c/em> The film captured the lives of a group of genderqueer people of color living in New York City between 1997 and 2003. A quarter century on, Vilson’s starkly resigned statement feels lightyears away from where he is today — a successful actor, mentor and activist who is, unquestionably, a man.\u003c/p>\n\u003cp>Given the strides forward that Vilsón has publicly made over the years, it’s no wonder \u003cem>Aggressives\u003c/em> director Daniel Peddle felt the need to check in with some of the other subjects of the film. In 2018, he reconnected with four of the original cast: Octavio Sanders, Trevon Haynes, Kisha Batista and Chin Tsui. He spent the next five years documenting their continuing evolutions, as well as capturing Gen Z perspectives on how these “trancestors” have positively impacted the lives of queer youth now. The result is Paramount+ and Showtime documentary, \u003cem>Beyond the Aggressives: 25 Years Later\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FI2zkgQ79n4\u003c/p>\n\u003cp>In many ways, reconnecting with these subjects as older, more established adults is a relief, and issues of crime, racism and poverty are not as present here as they were in \u003cem>The Aggressives\u003c/em>. Kisha in particular appears to be living her best life: one full of love, joy, art and motorcycles. She is the philosophical heart of the movie and lights up the screen every time she’s on it — a quality that’s allowed her to snag roles on TV shows like \u003cem>Orange is the New Black\u003c/em>, \u003cem>Law & Order\u003c/em> and \u003cem>Manifest.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not to say our protagonists are not still experiencing hardship as a direct result of their gender identities. At the outset of the film, because of a series of calamitous events, Chin is detained by ICE. Worse, agents put him in long-term solitary confinement because he’s transgender. His struggle for freedom and independence is at the center of his story arc.\u003c/p>\n\u003cp>[aside postid='arts_13952433']When we see Trevon, he’s getting ready to start a family with his girlfriend Jade. As the couple works together to overcome medical issues, it’s clear that doctors’ misunderstandings of gender-nonconforming people only exacerbate their fertility struggles. Trevon is frustrated but determined. One gets the sense that, together, he and Jade could conquer pretty much anything.\u003c/p>\n\u003cp>Octavio gives us a powerful reflection on how growing up around prejudice continues to impact his self-image. Looking back on the first movie, he says he didn’t come out as trans because he was still living with family then and didn’t want to lose his home. Later, we see that fear of familial rejection has lingered.\u003c/p>\n\u003cp>At one point, Octavio notes: “If I had a choice to change my gender, I would. The reason why I don’t is because I have a son … I don’t want society judging him because of who his parent is.”\u003c/p>\n\u003cp>His son’s support later in the film provides the movie with some of its most touching moments.\u003c/p>\n\u003cp>Despite social progress in the years between \u003cem>The Aggressives\u003c/em> and \u003cem>25 Years Later\u003c/em>, self-identification continues to be a point of contention. In the original film, everyone identified as “femme aggressive” at some point, but mostly found themselves outgrowing the term. In the new documentary, Trevon uses male pronouns, but swings between referring to himself as trans, nonbinary and no label at all. It goes to show that language around gender needs to be ever-evolving.\u003c/p>\n\u003cp>[aside postid='arts_13954796']Kisha is still eschewing labels too, but does so with a refreshing sense of joy. “I define myself,” she says, “and I choose to be free.”\u003c/p>\n\u003cp>In the end, that’s what\u003cem> Beyond The Aggressives: 25 Years Later\u003c/em> is really about: growth, evolution, self-expression and the bravery inherent in pushing back against limitations. Its theme of self-realization is a universal one, but it is Kisha who most beautifully sums up the still-developing stories of our four old friends on screen.\u003c/p>\n\u003cp>“Identity is something that you create yourself — something like art. It’s a process. It’s always changing,” she says. “It’s an alignment of self and soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beyond The Aggressives: 25 Years Later’ premieres on Showtime on March 30, 2024. The movie will also be available to stream via Paramount+ for subscribers with a Showtime add-on.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m comfortable being a woman who likes women. I live my life as a man, yes, but the reality does not change. You’re born a woman and that’s how you’re going to die.”\u003c/p>\n\u003cp>So said \u003ca href=\"https://nmaahc.si.edu/lgbtq/marquise-vilson\">Marquise Vilsón\u003c/a>, one of the subjects of 2005 documentary \u003cem>The Aggressives.\u003c/em> The film captured the lives of a group of genderqueer people of color living in New York City between 1997 and 2003. A quarter century on, Vilson’s starkly resigned statement feels lightyears away from where he is today — a successful actor, mentor and activist who is, unquestionably, a man.\u003c/p>\n\u003cp>Given the strides forward that Vilsón has publicly made over the years, it’s no wonder \u003cem>Aggressives\u003c/em> director Daniel Peddle felt the need to check in with some of the other subjects of the film. In 2018, he reconnected with four of the original cast: Octavio Sanders, Trevon Haynes, Kisha Batista and Chin Tsui. He spent the next five years documenting their continuing evolutions, as well as capturing Gen Z perspectives on how these “trancestors” have positively impacted the lives of queer youth now. The result is Paramount+ and Showtime documentary, \u003cem>Beyond the Aggressives: 25 Years Later\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FI2zkgQ79n4'\n title='//www.youtube.com/embed/FI2zkgQ79n4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In many ways, reconnecting with these subjects as older, more established adults is a relief, and issues of crime, racism and poverty are not as present here as they were in \u003cem>The Aggressives\u003c/em>. Kisha in particular appears to be living her best life: one full of love, joy, art and motorcycles. She is the philosophical heart of the movie and lights up the screen every time she’s on it — a quality that’s allowed her to snag roles on TV shows like \u003cem>Orange is the New Black\u003c/em>, \u003cem>Law & Order\u003c/em> and \u003cem>Manifest.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not to say our protagonists are not still experiencing hardship as a direct result of their gender identities. At the outset of the film, because of a series of calamitous events, Chin is detained by ICE. Worse, agents put him in long-term solitary confinement because he’s transgender. His struggle for freedom and independence is at the center of his story arc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When we see Trevon, he’s getting ready to start a family with his girlfriend Jade. As the couple works together to overcome medical issues, it’s clear that doctors’ misunderstandings of gender-nonconforming people only exacerbate their fertility struggles. Trevon is frustrated but determined. One gets the sense that, together, he and Jade could conquer pretty much anything.\u003c/p>\n\u003cp>Octavio gives us a powerful reflection on how growing up around prejudice continues to impact his self-image. Looking back on the first movie, he says he didn’t come out as trans because he was still living with family then and didn’t want to lose his home. Later, we see that fear of familial rejection has lingered.\u003c/p>\n\u003cp>At one point, Octavio notes: “If I had a choice to change my gender, I would. The reason why I don’t is because I have a son … I don’t want society judging him because of who his parent is.”\u003c/p>\n\u003cp>His son’s support later in the film provides the movie with some of its most touching moments.\u003c/p>\n\u003cp>Despite social progress in the years between \u003cem>The Aggressives\u003c/em> and \u003cem>25 Years Later\u003c/em>, self-identification continues to be a point of contention. In the original film, everyone identified as “femme aggressive” at some point, but mostly found themselves outgrowing the term. In the new documentary, Trevon uses male pronouns, but swings between referring to himself as trans, nonbinary and no label at all. It goes to show that language around gender needs to be ever-evolving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kisha is still eschewing labels too, but does so with a refreshing sense of joy. “I define myself,” she says, “and I choose to be free.”\u003c/p>\n\u003cp>In the end, that’s what\u003cem> Beyond The Aggressives: 25 Years Later\u003c/em> is really about: growth, evolution, self-expression and the bravery inherent in pushing back against limitations. Its theme of self-realization is a universal one, but it is Kisha who most beautifully sums up the still-developing stories of our four old friends on screen.\u003c/p>\n\u003cp>“Identity is something that you create yourself — something like art. It’s a process. It’s always changing,” she says. “It’s an alignment of self and soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beyond The Aggressives: 25 Years Later’ premieres on Showtime on March 30, 2024. The movie will also be available to stream via Paramount+ for subscribers with a Showtime add-on.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary",
"headTitle": "‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary | KQED",
"content": "\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>[aside postid='arts_13954358']And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d30IaPx5Qc8\u003c/p>\n\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>[aside postid='arts_13954225']Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\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/d30IaPx5Qc8'\n title='//www.youtube.com/embed/d30IaPx5Qc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new documentary \u003ca href=\"https://www.peacocktv.com/blog/watch-the-trailer-for-stormy\">\u003cem>Stormy \u003c/em>\u003c/a>begins in 2023 — around the time former President Donald Trump was indicted over hush-money payments made during his 2016 presidential campaign.\u003c/p>\n\u003cp>Stormy Daniels, who was paid by Trump’s lawyer Michael Cohen to keep quiet about their alleged previous affair, watches the news unfold on TV and then says, “Let’s go,” before she walks off screen.\u003c/p>\n\u003cp>\u003cem>Stormy\u003c/em> chronicles Daniels’ life from her childhood in Baton Rouge, La., to her rise as an adult film actor and then, in the opinion of some, a feminist hero. It also gives viewers a glimpse into how she went from friend to foe of a celebrity businessman who became president of the United States.\u003c/p>\n\u003cp>“I am here today to tell my story and even if I just change a few people’s minds, it’s fine. If not, at least my daughter can look back on this and know the truth,” she said in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_tE7h_TJkxg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>[aside postid='arts_13954225']On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>[aside postid='arts_13954104']But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>[aside postid='arts_13938155']But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951078']“She didn’t realize she would one day be at the center of this giant thing as she was messing around with some game show host,” Rogen said. “She’s someone who made an enemy of the most powerful guy on the planet and didn’t, like, cower.”\u003c/p>\n\u003cp>Kimmel invited Daniels to his show in 2018, when Daniels’ nondisclosure agreement about her previous affair with Trump was still in effect.\u003c/p>\n\u003cp>Kimmel described Daniels as having a good sense of humor but also afraid of violating her NDA. He nodded to this during their interview, in which he brought out \u003ca href=\"https://www.youtube.com/watch?v=Ntl5Da1vblI\">puppets \u003c/a>to reenact her interactions with Trump.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“She told the truth and she paid a price for that,” Kimmel said in the film. “It’s not something that just goes away.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Threats%2C+debt+and+Trump%27s+advances%3A+%27Stormy%27+doc+examines+the+life+of+Stormy+Daniels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She didn’t realize she would one day be at the center of this giant thing as she was messing around with some game show host,” Rogen said. “She’s someone who made an enemy of the most powerful guy on the planet and didn’t, like, cower.”\u003c/p>\n\u003cp>Kimmel invited Daniels to his show in 2018, when Daniels’ nondisclosure agreement about her previous affair with Trump was still in effect.\u003c/p>\n\u003cp>Kimmel described Daniels as having a good sense of humor but also afraid of violating her NDA. He nodded to this during their interview, in which he brought out \u003ca href=\"https://www.youtube.com/watch?v=Ntl5Da1vblI\">puppets \u003c/a>to reenact her interactions with Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She told the truth and she paid a price for that,” Kimmel said in the film. “It’s not something that just goes away.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Threats%2C+debt+and+Trump%27s+advances%3A+%27Stormy%27+doc+examines+the+life+of+Stormy+Daniels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon",
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"content": "\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8\u003c/p>\n\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>[aside postid='arts_13952301']The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>[aside postid='arts_13954052']Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\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/V6jbU4jPru8'\n title='//www.youtube.com/embed/V6jbU4jPru8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\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/tTITyLpW9nI'\n title='//www.youtube.com/embed/tTITyLpW9nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Betty Reid Soskin’s life story is a reminder that all of us are given just one life; and that, within it, there can be many lives lived. There’s now a film in production that’s set to drive that point home.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">Sign My Name To Freedom: The Lost Music of Betty Reid Soskin\u003c/a>\u003c/i>, directed by Bryan Gibel and co-directed by A.K. Sandhu, is a close look at how the Bay Area’s form of racism and redlining impacted Reid Soskin and her family, and how she used music to fight back.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sign My Name to Freedom 4-Minute Work Sample\" src=\"https://player.vimeo.com/video/858289902?h=745443a01e&dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\">\u003c/iframe>\u003c/p>\n\u003cp>Reid Soskin has a fascinating story. She’s famously known as the woman who became the oldest United States Park Ranger in history, at age 85. This accomplishment was \u003ca href=\"https://twitter.com/BarackObama/status/1510286021182771200\" target=\"_blank\" rel=\"noopener\">celebrated by President Obama\u003c/a> on multiple occasions, including a message he sent to her in 2022 after she announced her\u003ca href=\"https://www.kqed.org/news/11910061/betty-reid-soskin-americas-oldest-park-ranger-retires-at-100\"> retirement at age 100\u003c/a>.\u003c/p>\n\u003cp>Reid Soskin, who has\u003ca href=\"https://www.wccusd.net/bettyreidsoskin\" target=\"_blank\" rel=\"noopener\"> a middle school named in her honor\u003c/a>, was also once the owner of \u003ca href=\"https://www.berkeleyside.org/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\" target=\"_blank\" rel=\"noopener\">Reid’s Records\u003c/a> in Berkeley. A community hub and resource in the historically Black community of South Berkeley, the store operated for nearly 75 years. At the time of its closing, it was the oldest record store in California.\u003c/p>\n\u003cfigure id=\"attachment_13952585\" class=\"wp-caption aligncenter\" style=\"max-width: 2085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg\" alt=\"Betty Reid Soskin posing for a photo in the 1940s at Lake Merritt in Oakland.\" width=\"2085\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg 2085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-800x982.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1020x1252.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-768x943.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1251x1536.jpg 1251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1668x2048.jpg 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1920x2357.jpg 1920w\" sizes=\"auto, (max-width: 2085px) 100vw, 2085px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, pictured in the 1940s. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gibel and Sandhu’s film goes even further back, picking up after Reid Soskin graduated from East Oakland’s Castlemont High School and started a family with her first husband, Mel Reid. After having children, Reid Soskin and her family moved to the other side of the Caldecott Tunnel, taking up residence in Walnut Creek, where they were one of the first African American families in town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They were soon subject to racist harassment in their immediate community as well as at work, where Reid Soskin labored in the Boilermaker union during WWII.\u003c/p>\n\u003cp>These first-person experiences, coupled with reports of racist attacks across the country and war around the world, led to Reid Soskin writing songs to fight the powers that be.\u003c/p>\n\u003cp>\u003cem>Sign My Name to Freedom \u003c/em>is the title of the film (as well as her memoir and \u003ca href=\"https://www.zspace.org/signmyname\">a stage play about her life which premieres March 28\u003c/a>); it’s also the name of her best-known song.\u003c/p>\n\u003cp>In the documentary film, Reid Soskin (who’s now 102) listens to reel-to-reel tapes excavated from an old box that had been in her closet for nearly a half-century.\u003c/p>\n\u003cp>Cameras roll as she time-travels by revisiting her old lyrics, prompting recollections about world events at the time. The film also features interviews with Reid Soskin and her family, plus beautiful archival photos and home videos.\u003c/p>\n\u003cfigure id=\"attachment_13952587\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg\" alt=\"A candid shot of Betty Reid Soskin in the 1960's holding a guitar while sitting in a music circle in the Asilomar area of Monterey Bay.\" width=\"1170\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-768x929.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, in the 1960s, in a music circle in the Asilomar area of Monterey Bay. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Reid Soskin fashion, the film isn’t just about yesteryear, but what she’s doing now. It follows her to a 2018 performance at Oakland’s Paramount Theatre, where she, along with the Oakland Symphony and a 200-person choir, sang “Your Hand In Mine,” her tribute to the civil rights activist Fannie Lou Hamer.\u003c/p>\n\u003cp>The film is still in production, and the team is throwing events \u003ca href=\"https://seedandspark.com/fund/sign-my-name-to-freedom?fbclid=IwAR1MtauBei87wdBoF18zwG8npB9z_1Bvp5ujLomq1h1nRVf2EEtP1QhRb1I#story\" target=\"_blank\" rel=\"noopener\">to raise funds\u003c/a> for it. Upcoming events include an online screening on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-cbd84\" target=\"_blank\" rel=\"noopener\">Tuesday, Feb. 29\u003c/a>, in collaboration with the Zaccho Dance Company; an in-person event on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-tkbjh\" target=\"_blank\" rel=\"noopener\">Saturday, March 16, at the South Berkeley Library\u003c/a>; and a pop-up event held with the \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter Trust\u003c/a> on\u003ca href=\"https://www.eventbrite.com/e/sign-my-name-to-freedom-pop-up-tickets-824886566927?aff=erelexpmlt\" target=\"_blank\" rel=\"noopener\"> Friday, March 22\u003c/a> at the old Ford Assembly Plant in Richmond.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about ‘Sign My Name To Freedom: The Lost Music of Betty Reid Soskin’ and upcoming events \u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Betty Reid Soskin’s life story is a reminder that all of us are given just one life; and that, within it, there can be many lives lived. There’s now a film in production that’s set to drive that point home.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">Sign My Name To Freedom: The Lost Music of Betty Reid Soskin\u003c/a>\u003c/i>, directed by Bryan Gibel and co-directed by A.K. Sandhu, is a close look at how the Bay Area’s form of racism and redlining impacted Reid Soskin and her family, and how she used music to fight back.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sign My Name to Freedom 4-Minute Work Sample\" src=\"https://player.vimeo.com/video/858289902?h=745443a01e&dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\">\u003c/iframe>\u003c/p>\n\u003cp>Reid Soskin has a fascinating story. She’s famously known as the woman who became the oldest United States Park Ranger in history, at age 85. This accomplishment was \u003ca href=\"https://twitter.com/BarackObama/status/1510286021182771200\" target=\"_blank\" rel=\"noopener\">celebrated by President Obama\u003c/a> on multiple occasions, including a message he sent to her in 2022 after she announced her\u003ca href=\"https://www.kqed.org/news/11910061/betty-reid-soskin-americas-oldest-park-ranger-retires-at-100\"> retirement at age 100\u003c/a>.\u003c/p>\n\u003cp>Reid Soskin, who has\u003ca href=\"https://www.wccusd.net/bettyreidsoskin\" target=\"_blank\" rel=\"noopener\"> a middle school named in her honor\u003c/a>, was also once the owner of \u003ca href=\"https://www.berkeleyside.org/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\" target=\"_blank\" rel=\"noopener\">Reid’s Records\u003c/a> in Berkeley. A community hub and resource in the historically Black community of South Berkeley, the store operated for nearly 75 years. At the time of its closing, it was the oldest record store in California.\u003c/p>\n\u003cfigure id=\"attachment_13952585\" class=\"wp-caption aligncenter\" style=\"max-width: 2085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg\" alt=\"Betty Reid Soskin posing for a photo in the 1940s at Lake Merritt in Oakland.\" width=\"2085\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg 2085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-800x982.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1020x1252.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-768x943.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1251x1536.jpg 1251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1668x2048.jpg 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1920x2357.jpg 1920w\" sizes=\"auto, (max-width: 2085px) 100vw, 2085px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, pictured in the 1940s. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gibel and Sandhu’s film goes even further back, picking up after Reid Soskin graduated from East Oakland’s Castlemont High School and started a family with her first husband, Mel Reid. After having children, Reid Soskin and her family moved to the other side of the Caldecott Tunnel, taking up residence in Walnut Creek, where they were one of the first African American families in town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They were soon subject to racist harassment in their immediate community as well as at work, where Reid Soskin labored in the Boilermaker union during WWII.\u003c/p>\n\u003cp>These first-person experiences, coupled with reports of racist attacks across the country and war around the world, led to Reid Soskin writing songs to fight the powers that be.\u003c/p>\n\u003cp>\u003cem>Sign My Name to Freedom \u003c/em>is the title of the film (as well as her memoir and \u003ca href=\"https://www.zspace.org/signmyname\">a stage play about her life which premieres March 28\u003c/a>); it’s also the name of her best-known song.\u003c/p>\n\u003cp>In the documentary film, Reid Soskin (who’s now 102) listens to reel-to-reel tapes excavated from an old box that had been in her closet for nearly a half-century.\u003c/p>\n\u003cp>Cameras roll as she time-travels by revisiting her old lyrics, prompting recollections about world events at the time. The film also features interviews with Reid Soskin and her family, plus beautiful archival photos and home videos.\u003c/p>\n\u003cfigure id=\"attachment_13952587\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg\" alt=\"A candid shot of Betty Reid Soskin in the 1960's holding a guitar while sitting in a music circle in the Asilomar area of Monterey Bay.\" width=\"1170\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-768x929.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, in the 1960s, in a music circle in the Asilomar area of Monterey Bay. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Reid Soskin fashion, the film isn’t just about yesteryear, but what she’s doing now. It follows her to a 2018 performance at Oakland’s Paramount Theatre, where she, along with the Oakland Symphony and a 200-person choir, sang “Your Hand In Mine,” her tribute to the civil rights activist Fannie Lou Hamer.\u003c/p>\n\u003cp>The film is still in production, and the team is throwing events \u003ca href=\"https://seedandspark.com/fund/sign-my-name-to-freedom?fbclid=IwAR1MtauBei87wdBoF18zwG8npB9z_1Bvp5ujLomq1h1nRVf2EEtP1QhRb1I#story\" target=\"_blank\" rel=\"noopener\">to raise funds\u003c/a> for it. Upcoming events include an online screening on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-cbd84\" target=\"_blank\" rel=\"noopener\">Tuesday, Feb. 29\u003c/a>, in collaboration with the Zaccho Dance Company; an in-person event on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-tkbjh\" target=\"_blank\" rel=\"noopener\">Saturday, March 16, at the South Berkeley Library\u003c/a>; and a pop-up event held with the \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter Trust\u003c/a> on\u003ca href=\"https://www.eventbrite.com/e/sign-my-name-to-freedom-pop-up-tickets-824886566927?aff=erelexpmlt\" target=\"_blank\" rel=\"noopener\"> Friday, March 22\u003c/a> at the old Ford Assembly Plant in Richmond.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about ‘Sign My Name To Freedom: The Lost Music of Betty Reid Soskin’ and upcoming events \u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation",
"headTitle": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation | KQED",
"content": "\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>[aside postid='pop_108474']The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>[aside postid='arts_13883630']Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>[aside postid='arts_13951958']Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JlyYimV6Qqw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iCNMXENmOpk\u003c/p>\n\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>[aside postid='arts_13880441']A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>[aside postid='arts_13914487']That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>[aside postid='arts_13951641']“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\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/JlyYimV6Qqw'\n title='//www.youtube.com/embed/JlyYimV6Qqw'\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>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\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/iCNMXENmOpk'\n title='//www.youtube.com/embed/iCNMXENmOpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
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"content": "\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>[aside postid='arts_13936153']“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MD3oU1gowu4\u003c/p>\n\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>[aside postid='arts_13951078']The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\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/MD3oU1gowu4'\n title='//www.youtube.com/embed/MD3oU1gowu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"tagline": "True-life supernatural stories",
"info": "",
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