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"content": "\u003cp>A new documentary about \u003ca href=\"https://www.kqed.org/news/10755111/legendary-san-francisco-stripper-carol-doda-dies\">Carol Doda\u003c/a>, the go-go dancing North Beach legend, will hit San Francisco movie theaters on March 22.\u003c/p>\n\u003cp>[aside postid='news_10755111']\u003ca href=\"https://www.imdb.com/title/tt12280494/\">\u003cem>Carol Doda Topless at the Condor\u003c/em>\u003c/a> was made by San Francisco filmmakers \u003ca href=\"https://parkerfilmcompany.com/about/\">Jonathan Parker\u003c/a> — who knew Doda personally — and \u003ca href=\"https://www.imdb.com/name/nm5464057/\">Marlo McKenzie\u003c/a>. It was produced by Metallica drummer Lars Ulrich. The film is partially based on \u003ca href=\"https://books.google.com/books/about/Three_Nights_at_the_Condor.html?id=IgO-vgEACAAJ\">\u003cem>Three Nights at the Condor\u003c/em>\u003c/a>, the 2018 memoir by Benita Mattioli whose husband Pete owned the Condor in its heyday. The documentary first premiered in the Bay Area last October at the \u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>Doda became an instant legend after dancing topless at the Condor in 1964. She was quickly nicknamed “The Girl on the Piano” for her splashy entrance — she rode on stage atop a piano that was lowered from the ceiling on an elevator platform.\u003c/p>\n\u003cp>Doda’s performances, which incorporated the upbeat dance moves of the day, were such an instant sensation that many North Beach nightclubs quickly followed suit and introduced topless entertainment. For decades, Doda’s likeness — complete with blond bob, killer curves and skimpy bikini — hovered over Broadway on the Condor sign.\u003c/p>\n\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=\"(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>Doda retired from the Condor in 1985, but went on to open her own lingerie store, Champagne and Lace, where she regularly assisted customers. Years after her 2015 death at the age of 78, she remains a much-beloved figure in the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She’s such a complex person,” Marlo Mackenzie noted after a screening of \u003cem>Carol Doda Topless at the Condor \u003c/em>last October. “I love the way she challenges our ideas around nudity and body shame.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She was such an important part of San Francisco’s cultural history, which had an impact on the whole country,” \u003ca href=\"https://deadline.com/2024/01/picturehouse-carol-doda-topless-at-the-condor-1235806107/\">Jonathan Parker told Deadline\u003c/a>. “At a time when there weren’t a lot of options for women, Carol created a career for herself that resonated on many levels. She had charisma. She had courage. And I believe she loved what she did.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.imdb.com/title/tt12280494/\">\u003cem>Carol Doda Topless at the Condor\u003c/em>\u003c/a> was made by San Francisco filmmakers \u003ca href=\"https://parkerfilmcompany.com/about/\">Jonathan Parker\u003c/a> — who knew Doda personally — and \u003ca href=\"https://www.imdb.com/name/nm5464057/\">Marlo McKenzie\u003c/a>. It was produced by Metallica drummer Lars Ulrich. The film is partially based on \u003ca href=\"https://books.google.com/books/about/Three_Nights_at_the_Condor.html?id=IgO-vgEACAAJ\">\u003cem>Three Nights at the Condor\u003c/em>\u003c/a>, the 2018 memoir by Benita Mattioli whose husband Pete owned the Condor in its heyday. The documentary first premiered in the Bay Area last October at the \u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>Doda became an instant legend after dancing topless at the Condor in 1964. She was quickly nicknamed “The Girl on the Piano” for her splashy entrance — she rode on stage atop a piano that was lowered from the ceiling on an elevator platform.\u003c/p>\n\u003cp>Doda’s performances, which incorporated the upbeat dance moves of the day, were such an instant sensation that many North Beach nightclubs quickly followed suit and introduced topless entertainment. For decades, Doda’s likeness — complete with blond bob, killer curves and skimpy bikini — hovered over Broadway on the Condor sign.\u003c/p>\n\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=\"(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>Doda retired from the Condor in 1985, but went on to open her own lingerie store, Champagne and Lace, where she regularly assisted customers. Years after her 2015 death at the age of 78, she remains a much-beloved figure in the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last Monday night, HBO aired the first of three installments in its documentary series \u003cem>Murder in Boston: Roots, Rage & Reckoning\u003c/em>. Directed by Jason Hehir (who made \u003cem>The Last Dance\u003c/em>), it’s about the October 1989 murder of Carol Stuart. The murder was originally reported by her husband, Charles, as a carjacking by a Black assailant in which they had both been shot. She died, as did the baby she was carrying. By January, Charles’ brother confessed that he had assisted Charles in murdering his wife and that Charles’ own injury was essentially a misdirect; the carjacker never existed. In the intervening months, a manhunt had resulted in the police stopping, searching and harassing large numbers of Black men in Boston, one of whom they even arrested. Charles Stuart identified him as the — as it turns out — fictional murderer, then took his own life shortly after his brother gave him up to the police.\u003c/p>\n\u003cp>[aside postid='arts_13938155']There is an obvious way this series could have gone: exacting detail on the Stuarts, their families, how beautiful Carol was, how it all went wrong — on other words, on Charles’ decision to kill her and his brother’s decision to turn him in. Instead, it wisely focuses not on the murder itself, but on the police investigation, both its origins and the deep scars it left. The bulk of the first installment is spent on the history of segregation and racism in Boston, with particular focus on the ugly protests against busing as a way to desegregate public schools. It’s a bit of a salutary bait-and-switch, seeming like another true-crime story, but really taking this case and using it as only one example of much broader problems. The result is far more satisfying and substantial.\u003c/p>\n\u003cp>The three-episode docuseries is a standard format by now, particularly on Netflix. That’s how many episodes Netflix has of \u003cem>Bad Vegan \u003c/em>and \u003cem>Escaping Twin Flames \u003c/em>and \u003cem>Bad Surgeon\u003c/em>. It’s how many there are of Max’s own \u003cem>Love Has Won\u003c/em>. These often follow a three-act structure: the setup, the explosive events, the consequences and conclusions. \u003cem>Murder in Boston \u003c/em>suggests what might be a better path for a series like this, which calls all the way back to Ezra Edelman’s outstanding series \u003cem>O.J.: Made in America\u003c/em>. That series, while it was longer, similarly used its long format to provide what is often missing from stories about true crime, or scandals, or headlines of the past: context.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QCmcq0PoKS4\u003c/p>\n\u003cp>Yes, it’s possible to spend three episodes synthesizing what we know about events of the past, primarily for the benefit of people who either want to look back on them as familiar or want to learn about them because they weren’t around the first time. But why set aside the benefit time can often provide, which is a chance to gain new perspective on familiar stories?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Journalists and civil rights leaders, and one retired police officer who was willing to talk — and who seems to have zero regrets about his role in the manhunt — speak to the ways the aftermath of this killing changed the city, how it echoes in conversations that still take place now, and how, in retrospect, biases and failures of imagination prevented a mostly white police apparatus from being suspicious about Stuart’s story when plenty of Black residents never believed it for a minute. (For all this useful context, it also is undeniably an advantage to this series that the old \u003cem>COPS\u003c/em>-like show \u003cem>Rescue 911 \u003c/em>was \u003ca href=\"https://www.latimes.com/archives/la-xpm-1990-02-27-ca-1438-story.html\">filming with Boston emergency medical services\u003c/a> on the night of the murder, which means there is much more footage than usual of the crime scene, of Charles Stuart being loaded into the ambulance and being treated in the hospital, and of him muttering about the supposed Black carjacker.)\u003c/p>\n\u003cp>[aside postid='arts_13938247']This is what a docuseries should look like. Events are covered efficiently; context is given room to breathe, to occupy the space it needs. A lot of such projects are disposable and sensational, offering less light than heat. But this is one that gets the balance right.\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 2023 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=%27Murder+in+Boston%27+is+what+a+docuseries+should+look+like&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Monday night, HBO aired the first of three installments in its documentary series \u003cem>Murder in Boston: Roots, Rage & Reckoning\u003c/em>. Directed by Jason Hehir (who made \u003cem>The Last Dance\u003c/em>), it’s about the October 1989 murder of Carol Stuart. The murder was originally reported by her husband, Charles, as a carjacking by a Black assailant in which they had both been shot. She died, as did the baby she was carrying. By January, Charles’ brother confessed that he had assisted Charles in murdering his wife and that Charles’ own injury was essentially a misdirect; the carjacker never existed. In the intervening months, a manhunt had resulted in the police stopping, searching and harassing large numbers of Black men in Boston, one of whom they even arrested. Charles Stuart identified him as the — as it turns out — fictional murderer, then took his own life shortly after his brother gave him up to the police.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is an obvious way this series could have gone: exacting detail on the Stuarts, their families, how beautiful Carol was, how it all went wrong — on other words, on Charles’ decision to kill her and his brother’s decision to turn him in. Instead, it wisely focuses not on the murder itself, but on the police investigation, both its origins and the deep scars it left. The bulk of the first installment is spent on the history of segregation and racism in Boston, with particular focus on the ugly protests against busing as a way to desegregate public schools. It’s a bit of a salutary bait-and-switch, seeming like another true-crime story, but really taking this case and using it as only one example of much broader problems. The result is far more satisfying and substantial.\u003c/p>\n\u003cp>The three-episode docuseries is a standard format by now, particularly on Netflix. That’s how many episodes Netflix has of \u003cem>Bad Vegan \u003c/em>and \u003cem>Escaping Twin Flames \u003c/em>and \u003cem>Bad Surgeon\u003c/em>. It’s how many there are of Max’s own \u003cem>Love Has Won\u003c/em>. These often follow a three-act structure: the setup, the explosive events, the consequences and conclusions. \u003cem>Murder in Boston \u003c/em>suggests what might be a better path for a series like this, which calls all the way back to Ezra Edelman’s outstanding series \u003cem>O.J.: Made in America\u003c/em>. That series, while it was longer, similarly used its long format to provide what is often missing from stories about true crime, or scandals, or headlines of the past: context.\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/QCmcq0PoKS4'\n title='//www.youtube.com/embed/QCmcq0PoKS4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yes, it’s possible to spend three episodes synthesizing what we know about events of the past, primarily for the benefit of people who either want to look back on them as familiar or want to learn about them because they weren’t around the first time. But why set aside the benefit time can often provide, which is a chance to gain new perspective on familiar stories?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Journalists and civil rights leaders, and one retired police officer who was willing to talk — and who seems to have zero regrets about his role in the manhunt — speak to the ways the aftermath of this killing changed the city, how it echoes in conversations that still take place now, and how, in retrospect, biases and failures of imagination prevented a mostly white police apparatus from being suspicious about Stuart’s story when plenty of Black residents never believed it for a minute. (For all this useful context, it also is undeniably an advantage to this series that the old \u003cem>COPS\u003c/em>-like show \u003cem>Rescue 911 \u003c/em>was \u003ca href=\"https://www.latimes.com/archives/la-xpm-1990-02-27-ca-1438-story.html\">filming with Boston emergency medical services\u003c/a> on the night of the murder, which means there is much more footage than usual of the crime scene, of Charles Stuart being loaded into the ambulance and being treated in the hospital, and of him muttering about the supposed Black carjacker.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is what a docuseries should look like. Events are covered efficiently; context is given room to breathe, to occupy the space it needs. A lot of such projects are disposable and sensational, offering less light than heat. But this is one that gets the balance right.\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 2023 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=%27Murder+in+Boston%27+is+what+a+docuseries+should+look+like&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why?",
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"content": "\u003cp>There might be even more lore about the \u003ca href=\"https://www.kqed.org/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no\">\u003cem>Star Wars Holiday Special\u003c/em>\u003c/a> than about the \u003ca href=\"https://www.kqed.org/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe\">\u003cem>Star Wars\u003c/em> universe\u003c/a> itself. Aired once in November 1978 on CBS and then locked away beyond the reach of legitimate viewing, it sends Chewbacca back to his home planet to visit his family: his wife, Malla; his father, Itchy; and his son, Lumpy. (Yes. Lumpy.)\u003c/p>\n\u003cp>The special had guest stars like Bea Arthur and Harvey Korman and original cast members from the movie, including Mark Hamill, Carrie Fisher and Harrison Ford. It was a true variety show, complete with singing and dancing. And skits!\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BtkpVWeWN-Q\u003c/p>\n\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>[aside postid='arts_13920462']Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\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/BtkpVWeWN-Q'\n title='//www.youtube.com/embed/BtkpVWeWN-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"headTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies | KQED",
"content": "\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\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>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\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>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\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>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "three-chaplains-pbs-documentary-us-military-david-washburn-saleha-jabeen",
"title": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military",
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"headTitle": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military | KQED",
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"content": "\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>[aside postid='arts_13938450']In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BT_hfVEOew\u003c/p>\n\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>[aside postid='arts_13938247']That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>[aside postid='arts_13936153']She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>[aside postid='news_11967916']During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\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>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n",
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"excerpt": "‘Three Chaplains’ introduces a trio of Muslims helping to chip away at religious fears and bias in the armed forces.",
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"title": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military | KQED",
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"headline": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\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/_BT_hfVEOew'\n title='//www.youtube.com/embed/_BT_hfVEOew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\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>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>[aside postid='arts_13934736']As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HMYLFQbyIu4\u003c/p>\n\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>[aside postid='arts_13931196']The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>[aside postid='arts_13935208']Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\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/HMYLFQbyIu4'\n title='//www.youtube.com/embed/HMYLFQbyIu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the earliest shots in the documentary \u003cem>\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>\u003c/em> hangs from a distance on North Sentinel Island, a remote speck of Indian jungle located along the southeast edge of the Bay of Bengal. Thick, gray clouds clog the sky overhead. Trees, nearly black in the gloom, crowd so close to the water that you can hardly make out a sliver of sandy shore. The island is far away, and it is alone. Its inhabitants, we will soon learn, intend to keep it that way. \u003c/p>\n\u003cp>Seeing the island at such a remove engenders a complicated yearning — \u003cem>why can’t we just push a little bit closer, see a little more clearly\u003c/em>, one wonders. But this complication is quickly smoothed over by suspenseful music thrumming underneath: This is adventure, not meditation, the soundtrack says. The incongruity concisely foreshadows the jumbled film to come, in which San Francisco filmmakers Amanda McBaine and Jesse Moss search for nuance in a sensational news event while struggling to resist its convenient thrills.\u003c/p>\n\u003cp>\u003cem>The Mission\u003c/em> retells the viral story of American missionary John Chau, who in November 2018 disappeared off the coast of North Sentinel Island while trying to convert the island’s Indigenous people to Christianity. The island is home to what may be the last uncontacted Indigenous group on Earth: a Stone Age people who have consistently refused interaction with the outside world by shooting — and several times killing — visitors with arrows. Chau, 26 at the time, eluded Indian naval ships charged with guarding the island by hitching a ride on a small wooden fishing boat. It is believed that after twice rebuffing his entreaties, tribesmen killed Chau and buried him on their shore.\u003c/p>\n\u003cfigure id=\"attachment_13937530\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg\" alt=\"A man in a yellow kayak holds a pink fish above his head as people walk from beach into water\" width=\"2000\" height=\"832\" class=\"size-full wp-image-13937530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-768x319.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1536x639.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1920x799.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of John showing gifts he brought as he approaches the Sentinelese. \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chau’s death drew breathless media coverage from across the globe, and a logline for \u003cem>The Mission\u003c/em> reads that the documentary “uncovers the gripping story behind the headlines.” But it’s difficult to discern what in the film, if anything, needed uncovering. The movie contributes little information that wasn’t previously reported in \u003ca href=\"https://www.theguardian.com/world/2019/feb/03/john-chau-christian-missionary-death-sentinelese\">newspaper features\u003c/a> or \u003ca href=\"https://www.outsideonline.com/outdoor-adventure/exploration-survival/john-allen-chau-life-death-north-sentinel/\">magazine narratives\u003c/a>, revolving loosely, instead, around widely reported entries from Chau’s journal and a publicly shared letter from his father, who declined to otherwise participate. \u003c/p>\n\u003cp>The resultant portrait is less vivid than what emerges in written narratives. McBain and Moss hire voice actors to read from Chau’s diary entries and his father’s letter, and play the readings over animated reenactments drawn in a hazy oil-paint style. The animation proves a creative solution to the filmmakers’ lack of access, but like all documentary reenactment, the performances wind up constrained by reality. Likewise, the written words are constrained by the actors’ specific dramatic choices. Where the diary entries take on a certain symbolic weight when presented unadorned on a written page, they become itchy and over-dramatized in the readings, leaving an impersonation of Chau rather than any sense of his true self. \u003c/p>\n\u003cfigure id=\"attachment_13937532\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg\" alt=\"Older man sits at table covered with books and gestures with open hand\" width=\"2000\" height=\"834\" class=\"size-full wp-image-13937532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1920x801.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dan Everett, a professor of linguistics and a former missionary, has both a profound respect for John Chau and a disdain for his actions in ‘The Mission.’ \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McBain and Moss add to this source material a host of original interviews with anthropologists, historians and religious experts, as well as archival footage of Chau as a young boy. Ostensibly, the clips are meant to reflect the larger context in which Chau planned and executed his fatal journey, and thus bring him into sharper focus. The clips succeed in this endeavor, to an extent. Histories of the Christian mission movement, for example, give Chau’s conviction mooring and his hubris scale. More often, though, the supplementary materials introduce ideas and subjects that scream out for deeper attention, rendering Chau a distraction. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The truth is Chau has always been the least interesting character in his own story. It is hard to imagine that this documentary would have been made had Chau been killed by a less isolated Indigenous tribe. The intrigue lies instead with the Sentinelese, with their unknown language and their unknown culture. \u003cem>The Mission\u003c/em> shines most brightly when McBain and Moss probe the ethics of this fascination. It is our loss, as viewers, that they keep these ideas at a distance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>’ screens Nov. 3, 8 p.m. at Premier Theater (1 Letterman Dr. #B, San Francisco) as part of SFFILM’s \u003ca href=\"https://sffilm.org/2023-festival-program/\">Doc Stories festival\u003c/a>. It opens Nov. 10 at the Landmark Opera Plaza and the Smith Rafael Film Center.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the earliest shots in the documentary \u003cem>\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>\u003c/em> hangs from a distance on North Sentinel Island, a remote speck of Indian jungle located along the southeast edge of the Bay of Bengal. Thick, gray clouds clog the sky overhead. Trees, nearly black in the gloom, crowd so close to the water that you can hardly make out a sliver of sandy shore. The island is far away, and it is alone. Its inhabitants, we will soon learn, intend to keep it that way. \u003c/p>\n\u003cp>Seeing the island at such a remove engenders a complicated yearning — \u003cem>why can’t we just push a little bit closer, see a little more clearly\u003c/em>, one wonders. But this complication is quickly smoothed over by suspenseful music thrumming underneath: This is adventure, not meditation, the soundtrack says. The incongruity concisely foreshadows the jumbled film to come, in which San Francisco filmmakers Amanda McBaine and Jesse Moss search for nuance in a sensational news event while struggling to resist its convenient thrills.\u003c/p>\n\u003cp>\u003cem>The Mission\u003c/em> retells the viral story of American missionary John Chau, who in November 2018 disappeared off the coast of North Sentinel Island while trying to convert the island’s Indigenous people to Christianity. The island is home to what may be the last uncontacted Indigenous group on Earth: a Stone Age people who have consistently refused interaction with the outside world by shooting — and several times killing — visitors with arrows. Chau, 26 at the time, eluded Indian naval ships charged with guarding the island by hitching a ride on a small wooden fishing boat. It is believed that after twice rebuffing his entreaties, tribesmen killed Chau and buried him on their shore.\u003c/p>\n\u003cfigure id=\"attachment_13937530\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg\" alt=\"A man in a yellow kayak holds a pink fish above his head as people walk from beach into water\" width=\"2000\" height=\"832\" class=\"size-full wp-image-13937530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-768x319.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1536x639.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1920x799.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of John showing gifts he brought as he approaches the Sentinelese. \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chau’s death drew breathless media coverage from across the globe, and a logline for \u003cem>The Mission\u003c/em> reads that the documentary “uncovers the gripping story behind the headlines.” But it’s difficult to discern what in the film, if anything, needed uncovering. The movie contributes little information that wasn’t previously reported in \u003ca href=\"https://www.theguardian.com/world/2019/feb/03/john-chau-christian-missionary-death-sentinelese\">newspaper features\u003c/a> or \u003ca href=\"https://www.outsideonline.com/outdoor-adventure/exploration-survival/john-allen-chau-life-death-north-sentinel/\">magazine narratives\u003c/a>, revolving loosely, instead, around widely reported entries from Chau’s journal and a publicly shared letter from his father, who declined to otherwise participate. \u003c/p>\n\u003cp>The resultant portrait is less vivid than what emerges in written narratives. McBain and Moss hire voice actors to read from Chau’s diary entries and his father’s letter, and play the readings over animated reenactments drawn in a hazy oil-paint style. The animation proves a creative solution to the filmmakers’ lack of access, but like all documentary reenactment, the performances wind up constrained by reality. Likewise, the written words are constrained by the actors’ specific dramatic choices. Where the diary entries take on a certain symbolic weight when presented unadorned on a written page, they become itchy and over-dramatized in the readings, leaving an impersonation of Chau rather than any sense of his true self. \u003c/p>\n\u003cfigure id=\"attachment_13937532\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg\" alt=\"Older man sits at table covered with books and gestures with open hand\" width=\"2000\" height=\"834\" class=\"size-full wp-image-13937532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1920x801.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dan Everett, a professor of linguistics and a former missionary, has both a profound respect for John Chau and a disdain for his actions in ‘The Mission.’ \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McBain and Moss add to this source material a host of original interviews with anthropologists, historians and religious experts, as well as archival footage of Chau as a young boy. Ostensibly, the clips are meant to reflect the larger context in which Chau planned and executed his fatal journey, and thus bring him into sharper focus. The clips succeed in this endeavor, to an extent. Histories of the Christian mission movement, for example, give Chau’s conviction mooring and his hubris scale. More often, though, the supplementary materials introduce ideas and subjects that scream out for deeper attention, rendering Chau a distraction. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The truth is Chau has always been the least interesting character in his own story. It is hard to imagine that this documentary would have been made had Chau been killed by a less isolated Indigenous tribe. The intrigue lies instead with the Sentinelese, with their unknown language and their unknown culture. \u003cem>The Mission\u003c/em> shines most brightly when McBain and Moss probe the ethics of this fascination. It is our loss, as viewers, that they keep these ideas at a distance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>’ screens Nov. 3, 8 p.m. at Premier Theater (1 Letterman Dr. #B, San Francisco) as part of SFFILM’s \u003ca href=\"https://sffilm.org/2023-festival-program/\">Doc Stories festival\u003c/a>. It opens Nov. 10 at the Landmark Opera Plaza and the Smith Rafael Film Center.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "joan-baez-documentary-movie-review-i-am-a-noise-folk",
"title": "Joan Baez Has Songs to Sing and Secrets to Tell in New Documentary",
"publishDate": 1697034807,
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"headTitle": "Joan Baez Has Songs to Sing and Secrets to Tell in New Documentary | KQED",
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"content": "\u003cfigure id=\"attachment_13936154\" class=\"wp-caption aligncenter\" style=\"max-width: 2108px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png\" alt=\"A young, attractive Latina stands on the edge of a dessert landscape. She is wearing a structured blue top against a blue sky.\" width=\"2108\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png 2108w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-2048x1263.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1920x1184.png 1920w\" sizes=\"auto, (max-width: 2108px) 100vw, 2108px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez in a scene from ‘I Am a Noise.’ \u003ccite>(Albert Baez/ Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Dylan called it her “heart-stopping soprano,” and it’s true that when Joan Baez unleashed that pure, angelic voice on the protest song “We Shall Overcome,” you could believe we would, indeed, overcome.\u003c/p>\n\u003cp>The celebrated folk singer and activist was singing about civil rights, of course. But what we learn in the thoughtful, thorough and sometimes harrowingly intimate \u003cem>Joan Baez: I Am a Noise\u003c/em> is that Baez was also seeking to overcome much on a personal scale: anxiety, depression, loneliness and, late in life, troubling repressed memories about her own father.\u003c/p>\n\u003cp>[aside postid='arts_13933809']If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>[aside postid='arts_13935703']But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhcV1gEat_c\u003c/p>\n\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>[aside postid='arts_13933824']The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\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>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n",
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"title": "‘Joan Baez: I Am a Noise’ Review: A Harrowingly Intimate Film | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936154\" class=\"wp-caption aligncenter\" style=\"max-width: 2108px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png\" alt=\"A young, attractive Latina stands on the edge of a dessert landscape. She is wearing a structured blue top against a blue sky.\" width=\"2108\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png 2108w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-2048x1263.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1920x1184.png 1920w\" sizes=\"auto, (max-width: 2108px) 100vw, 2108px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez in a scene from ‘I Am a Noise.’ \u003ccite>(Albert Baez/ Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Dylan called it her “heart-stopping soprano,” and it’s true that when Joan Baez unleashed that pure, angelic voice on the protest song “We Shall Overcome,” you could believe we would, indeed, overcome.\u003c/p>\n\u003cp>The celebrated folk singer and activist was singing about civil rights, of course. But what we learn in the thoughtful, thorough and sometimes harrowingly intimate \u003cem>Joan Baez: I Am a Noise\u003c/em> is that Baez was also seeking to overcome much on a personal scale: anxiety, depression, loneliness and, late in life, troubling repressed memories about her own father.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\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/dhcV1gEat_c'\n title='//www.youtube.com/embed/dhcV1gEat_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\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>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Water for Life’ Shines a Bright Light on Three Heroic Environmentalists in Latin America",
"headTitle": "‘Water for Life’ Shines a Bright Light on Three Heroic Environmentalists in Latin America | KQED",
"content": "\u003cp>In 2021, in the Araucanía region of Chile, indigenous Mapuche chief Alberto Curamil was shot by police officers. His “crime” was leading the populist and legal resistance to a pair of mammoth hydroelectric projects proposed for the Cautín River. His injuries were not fatal, but he is never out of danger.\u003c/p>\n\u003cp>Curamil’s efforts had earned him the Goldman Environmental Prize (honoring “grassroots environmental activists from around the world”) a couple years earlier, and prominent placement in a documentary-in-progress by longtime Marin County filmmaker Will Parrinello. The completed film, narrated by actor Diego Luna and entitled \u003cem>Water for Life\u003c/em>, follows Curamil; Francisco Pineda, a corn-grower in El Salvador; and the late Berta Cáceres, of the Lenca in Honduras. The film receives its world premiere Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>“We need to move heaven and earth to try to do something to protect Alberto,” Parrinello recalls telling his impact-campaign producers at the Abaunza Group after Curamil was shot. “I don’t think we have the power to stop the forces that exist out there that want to stop Alberto from doing his work, but we do have the ability to take a bright light and shine it on him.”\u003c/p>\n\u003cfigure id=\"attachment_13935762\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/AlbertoCuramil3.jpg\" alt=\"A brown-skinned man in a blue head wrap with a white eight-pointed star stitched to its center\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alberto Curamil in a photo taken for the 2019 Goldman Environmental Prize. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parrinello was in the throes of editing 10 years of footage when Curamil was shot, but teamed with Amnesty International Chile to produce a short bilingual \u003ca href=\"https://vimeo.com/550063224\">video\u003c/a> narrated by Peter Coyote. Senior producer and award-winning San Francisco journalist Steven Talbot noted that the journalistic ideal of objectivity they were adhering to in the film precluded the filmmakers from being the face of the campaign. So they lined up a couple other Goldman prizewinners who wrote an op-ed for \u003cem>The Washington Post\u003c/em>. “We were able to motivate that campaign but we had to stand back from the campaign,” Parrinello says.\u003c/p>\n\u003cp>\u003cem>Water for Life\u003c/em>, as it turns out, doesn’t include Curamil’s shooting and its aftermath — documentaries are subject to the demands of storytelling just as much as narrative films — but the dramatic events illuminate the complications that filmmakers face in balancing personal relationships, principled activism and journalistic obligations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Curamil’s work, \u003cem>Water for Life\u003c/em> recounts Honduran activist Berta Cáceres’s costly fight against a government-backed hydro project on the Gualcarque River and Francisco Pineda’s protection of El Salvador’s essential Rio Lempa from a gold-mine venture proposed by Canadian-based multinational Pacific Rim Mining Corp. \u003c/p>\n\u003cfigure id=\"attachment_13935758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BertaCaceres_2000.jpg\" alt=\"Smiling woman with dark hair on piece of paper, held by two hands\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13935758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of environmentalist Berta Cáceres held during a March 3, 2016 protest outside the Honduran embassy in Guatemala, the day after she was murdered in her own home. \u003ccite>(Johan Ordonez/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three stories came to Parrinello and his longtime filmmaking partner in the Mill Valley Film Group, John Antonelli, over many years of producing videos of the Goldman prizewinners. Parrinello notes that the prize doesn’t have any editorial control over the content in \u003cem>Water for Life\u003c/em>, which is an independent production. In fact, Parrinello licensed footage — that he and Antonellis shot and which belongs to the prize — from them.\u003c/p>\n\u003cp>“This film is not a film for the Goldman Prize, or to promote the Goldman Prize or for self-aggrandizement,” he emphasizes.\u003c/p>\n\u003cp>A key difference between \u003cem>Water for Life\u003c/em> and the prize’s commissioned video portraits is that the filmmaker recognizes that the giants have their side in these David vs. Goliath battles.\u003c/p>\n\u003cp>“Part of upholding the standards of journalism was to persevere to get the oppositional voice in the film,” Parrinello says in a Zoom interview. “Everyone said, ‘What do we have to gain by being in your film? You already have a bias. You are going to make us out to be the bad guys.’”\u003c/p>\n\u003cp>Parrinello spent six months trying to persuade Thomas Shrake, Pacific Rim’s president and CEO, to say on camera what he had told a financial publication: He was a child of the ’60s and saw himself as a steward of the earth. Consequently, he wanted to do the kind of mining that was as environmentally and socially responsible as possible.\u003c/p>\n\u003cfigure id=\"attachment_13935749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg\" alt=\"Man in cowboy hat and light blue shirt stands in a corn field\" width=\"2000\" height=\"1328\" class=\"size-full wp-image-13935749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1920x1275.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Pineda in a scene from ‘Water for Life.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shrake never sat for Parrinello’s camera, but local producer Rick Tejada-Flores found a tape of the exec testifying before the World Bank Administrative Tribunal; a smoothie in a suit, the disdainful Shrake doesn’t need anybody’s help to come off as the bad guy.\u003c/p>\n\u003cp>Parrinello readily admits that part of his motivation for making \u003cem>Water for Life\u003c/em> was to illuminate the international activities of corporations — usually based in the United States, Canada, Australia or China — that aren’t acceptable or legal in their home countries. This profit-seeking behavior is being done in our name as investors, Parrinello notes, which makes us responsible in tandem with the faceless multinationals.\u003c/p>\n\u003cp>“We can all no longer say it’s someone else’s responsibility to care for the earth,” Parrinello asserts. “Climate change is here and it’s a result of our actions and our activities. It’s not just that we’re burning fossil fuels. It’s our desire to consume, to have a better lifestyle, to have more material things. We have to be less concerned with profits and more concerned with the earth. One of those ways is to hold our corporate and governmental bodies accountable for their actions.”\u003c/p>\n\u003cp>Deep into a long career of making films about spiritual seekers, environmentalists and indigenous people, Parrinello’s fervid idealism has mellowed into a pragmatic recognition that the problem is embedded in us, as individuals.\u003c/p>\n\u003cfigure id=\"attachment_13935769\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg\" alt=\"Woman with dark curly hair stands on a hillside in front of a small crowd of people, left arm raised\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Berta Cáceres rallied the indigenous Lenca people of Honduras and waged a grassroots campaign that successfully pressured the world’s largest dam builder to pull out of the Agua Zarca Dam. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We use metals in our cars, in our cellphones, you have a gold ring when you get married,” he acknowledges with a what-are-you-going-to-do smile. “We’re all part of the extractive industries through our consumption, and just through our lives.”\u003c/p>\n\u003cp>Although \u003cem>Water for Life\u003c/em> is plainly on the side of the local people and the environmental activists, Parrinello’s diligent focus on story and character leaves no room for self-righteous venting and strident anger. Paradoxically, his craft-intensive restraint — along with the abundant beauty shots of unspoiled landscapes and the lives connected to those landscapes — encourages the viewer’s expanded emotional response.\u003c/p>\n\u003cp>This viewer, I don’t mind telling you, was quietly infuriated. \u003cem>Does every meter of Earth have to be developed and exploited? Can’t anything be left in its natural state? Does power — economic, political, military — always have to be brought to bear on people viewed (only) as in the way?\u003c/em>\u003c/p>\n\u003cp>We want the answer to be “no” to all the above. Parrinello’s controlled use of his material balances that big-picture view with the reality on the ground — the reality of those who actually dare to say “no.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Water for Life’ plays Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a> (Oct. 5–15) with a national PBS broadcast next year. It also screens Oct. 10 as part of Berkeley Law’s \u003ca href=\"https://www.law.berkeley.edu/event/film-screening-water-for-life/\">International Human Rights Law Clinic\u003c/a> with Francisco Pineda and Bertita Zuniga Cáceres (Berta Cáceres’ daughter) present.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2021, in the Araucanía region of Chile, indigenous Mapuche chief Alberto Curamil was shot by police officers. His “crime” was leading the populist and legal resistance to a pair of mammoth hydroelectric projects proposed for the Cautín River. His injuries were not fatal, but he is never out of danger.\u003c/p>\n\u003cp>Curamil’s efforts had earned him the Goldman Environmental Prize (honoring “grassroots environmental activists from around the world”) a couple years earlier, and prominent placement in a documentary-in-progress by longtime Marin County filmmaker Will Parrinello. The completed film, narrated by actor Diego Luna and entitled \u003cem>Water for Life\u003c/em>, follows Curamil; Francisco Pineda, a corn-grower in El Salvador; and the late Berta Cáceres, of the Lenca in Honduras. The film receives its world premiere Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>“We need to move heaven and earth to try to do something to protect Alberto,” Parrinello recalls telling his impact-campaign producers at the Abaunza Group after Curamil was shot. “I don’t think we have the power to stop the forces that exist out there that want to stop Alberto from doing his work, but we do have the ability to take a bright light and shine it on him.”\u003c/p>\n\u003cfigure id=\"attachment_13935762\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/AlbertoCuramil3.jpg\" alt=\"A brown-skinned man in a blue head wrap with a white eight-pointed star stitched to its center\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alberto Curamil in a photo taken for the 2019 Goldman Environmental Prize. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parrinello was in the throes of editing 10 years of footage when Curamil was shot, but teamed with Amnesty International Chile to produce a short bilingual \u003ca href=\"https://vimeo.com/550063224\">video\u003c/a> narrated by Peter Coyote. Senior producer and award-winning San Francisco journalist Steven Talbot noted that the journalistic ideal of objectivity they were adhering to in the film precluded the filmmakers from being the face of the campaign. So they lined up a couple other Goldman prizewinners who wrote an op-ed for \u003cem>The Washington Post\u003c/em>. “We were able to motivate that campaign but we had to stand back from the campaign,” Parrinello says.\u003c/p>\n\u003cp>\u003cem>Water for Life\u003c/em>, as it turns out, doesn’t include Curamil’s shooting and its aftermath — documentaries are subject to the demands of storytelling just as much as narrative films — but the dramatic events illuminate the complications that filmmakers face in balancing personal relationships, principled activism and journalistic obligations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Curamil’s work, \u003cem>Water for Life\u003c/em> recounts Honduran activist Berta Cáceres’s costly fight against a government-backed hydro project on the Gualcarque River and Francisco Pineda’s protection of El Salvador’s essential Rio Lempa from a gold-mine venture proposed by Canadian-based multinational Pacific Rim Mining Corp. \u003c/p>\n\u003cfigure id=\"attachment_13935758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BertaCaceres_2000.jpg\" alt=\"Smiling woman with dark hair on piece of paper, held by two hands\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13935758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of environmentalist Berta Cáceres held during a March 3, 2016 protest outside the Honduran embassy in Guatemala, the day after she was murdered in her own home. \u003ccite>(Johan Ordonez/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three stories came to Parrinello and his longtime filmmaking partner in the Mill Valley Film Group, John Antonelli, over many years of producing videos of the Goldman prizewinners. Parrinello notes that the prize doesn’t have any editorial control over the content in \u003cem>Water for Life\u003c/em>, which is an independent production. In fact, Parrinello licensed footage — that he and Antonellis shot and which belongs to the prize — from them.\u003c/p>\n\u003cp>“This film is not a film for the Goldman Prize, or to promote the Goldman Prize or for self-aggrandizement,” he emphasizes.\u003c/p>\n\u003cp>A key difference between \u003cem>Water for Life\u003c/em> and the prize’s commissioned video portraits is that the filmmaker recognizes that the giants have their side in these David vs. Goliath battles.\u003c/p>\n\u003cp>“Part of upholding the standards of journalism was to persevere to get the oppositional voice in the film,” Parrinello says in a Zoom interview. “Everyone said, ‘What do we have to gain by being in your film? You already have a bias. You are going to make us out to be the bad guys.’”\u003c/p>\n\u003cp>Parrinello spent six months trying to persuade Thomas Shrake, Pacific Rim’s president and CEO, to say on camera what he had told a financial publication: He was a child of the ’60s and saw himself as a steward of the earth. Consequently, he wanted to do the kind of mining that was as environmentally and socially responsible as possible.\u003c/p>\n\u003cfigure id=\"attachment_13935749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg\" alt=\"Man in cowboy hat and light blue shirt stands in a corn field\" width=\"2000\" height=\"1328\" class=\"size-full wp-image-13935749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1920x1275.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Pineda in a scene from ‘Water for Life.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shrake never sat for Parrinello’s camera, but local producer Rick Tejada-Flores found a tape of the exec testifying before the World Bank Administrative Tribunal; a smoothie in a suit, the disdainful Shrake doesn’t need anybody’s help to come off as the bad guy.\u003c/p>\n\u003cp>Parrinello readily admits that part of his motivation for making \u003cem>Water for Life\u003c/em> was to illuminate the international activities of corporations — usually based in the United States, Canada, Australia or China — that aren’t acceptable or legal in their home countries. This profit-seeking behavior is being done in our name as investors, Parrinello notes, which makes us responsible in tandem with the faceless multinationals.\u003c/p>\n\u003cp>“We can all no longer say it’s someone else’s responsibility to care for the earth,” Parrinello asserts. “Climate change is here and it’s a result of our actions and our activities. It’s not just that we’re burning fossil fuels. It’s our desire to consume, to have a better lifestyle, to have more material things. We have to be less concerned with profits and more concerned with the earth. One of those ways is to hold our corporate and governmental bodies accountable for their actions.”\u003c/p>\n\u003cp>Deep into a long career of making films about spiritual seekers, environmentalists and indigenous people, Parrinello’s fervid idealism has mellowed into a pragmatic recognition that the problem is embedded in us, as individuals.\u003c/p>\n\u003cfigure id=\"attachment_13935769\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg\" alt=\"Woman with dark curly hair stands on a hillside in front of a small crowd of people, left arm raised\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Berta Cáceres rallied the indigenous Lenca people of Honduras and waged a grassroots campaign that successfully pressured the world’s largest dam builder to pull out of the Agua Zarca Dam. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We use metals in our cars, in our cellphones, you have a gold ring when you get married,” he acknowledges with a what-are-you-going-to-do smile. “We’re all part of the extractive industries through our consumption, and just through our lives.”\u003c/p>\n\u003cp>Although \u003cem>Water for Life\u003c/em> is plainly on the side of the local people and the environmental activists, Parrinello’s diligent focus on story and character leaves no room for self-righteous venting and strident anger. Paradoxically, his craft-intensive restraint — along with the abundant beauty shots of unspoiled landscapes and the lives connected to those landscapes — encourages the viewer’s expanded emotional response.\u003c/p>\n\u003cp>This viewer, I don’t mind telling you, was quietly infuriated. \u003cem>Does every meter of Earth have to be developed and exploited? Can’t anything be left in its natural state? Does power — economic, political, military — always have to be brought to bear on people viewed (only) as in the way?\u003c/em>\u003c/p>\n\u003cp>We want the answer to be “no” to all the above. Parrinello’s controlled use of his material balances that big-picture view with the reality on the ground — the reality of those who actually dare to say “no.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Water for Life’ plays Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a> (Oct. 5–15) with a national PBS broadcast next year. It also screens Oct. 10 as part of Berkeley Law’s \u003ca href=\"https://www.law.berkeley.edu/event/film-screening-water-for-life/\">International Human Rights Law Clinic\u003c/a> with Francisco Pineda and Bertita Zuniga Cáceres (Berta Cáceres’ daughter) present.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>[aside postid='arts_13934081']The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>[aside postid='arts_13934154']“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n",
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"content": "\u003cp>The thriving true-crime category in television is dominated by murders and scams, and it tends to be far better at explaining the latter than the former. Murders often don’t seem rationally motivated. Scams often do. And the best scam documentaries explore not just what drives the wild characters who hoodwink other people, but broken systems and wider failings that give them the ability to do it.\u003c/p>\n\u003cp>The latest scam documentary is from HBO. Called \u003cem>BS High\u003c/em>, it’s directed by Travon Free and Martin Desmond Roe, and it follows the story of the Bishop Sycamore football team. The team was supposedly out of Bishop Sycamore High School in Ohio. Only as it turned out, there was no Bishop Sycamore High School. There was only a football team run by a guy named Roy Johnson, who recruited young men who hadn’t successfully gotten into college football and promised them that his “program” could be a bridge for them to get there. But there were no classes and no academics, players say promises to improve grades or scores were fiction, and there wasn’t even any real coaching of value. This all came to light in 2021 after Bishop Sycamore was beaten 58-0 in a game against Florida’s IMG Academy (a highly rated actual sports academy) that was broadcast on ESPN.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aevincEID5Y\u003c/p>\n\u003ch3>A program that wasn’t what it appeared to be\u003c/h3>\n\u003cp>The specifics of the Bishop Sycamore scandal as reported in the documentary are upsetting, to say the least. On top of the broken promises, young men were injured, because the team didn’t have proper training support and was utterly unqualified to play the teams they played. They weren’t actually being prepared for elite football, which there’s no evidence Johnson knew how to coach. Some even wound up with evictions on their personal records (which can create problems down the road when you’re renting again) after players say Johnson failed to pay the bills he’d taken on for their housing. They also allege that he got them to apply for — or even applied on their behalf for — fraudulent PPP loans during the COVID pandemic (intended for small businesses) that provided money they could then give him to pay “tuition.” (Johnson denies this, and some, but not all, of the other claims from players. He also admits at one point that he doesn’t mind lying about anything he doesn’t think anybody can prove one way or the other.) Players say they weren’t even reliably fed, to the point where both Johnson and the team resorted to theft or scamming just so they could eat. These gory details are all fairly standard true-crime fare, despite their monstrousness.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Where \u003cem>BS High\u003c/em> excels is in its consideration of the systemic failures that allow something like Bishop Sycamore to happen — and then potentially to keep happening. Sports journalist Bomani Jones says in the film that Johnson is not the problem, he’s a symptom of the problem. The problem is the amount of money in high school sports, and the fact that because paying players is verboten, adults collect all that money for \u003cem>supplying \u003c/em>the players that the system needs. (One of the more distasteful figures in the film is the guy in a suit whose company arranged Bishop Sycamore’s punishing and totally inappropriate schedule, including the game against IMG Academy. There’s money in “matchmaking” between high schools across the country, it turns out, no matter how lopsided the matchups.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones talks, too, about the significance of the fact that most of these young players were Black, as is Johnson. “The fact that the players are Black is the reason why somebody like Roy Johnson would think that he could get away with this.” And so, Jones says, it’s the wrong angle to think in terms of why Johnson would do this to “his people.” Jones says: “He did that to his people because that’s who you can do this to. Black players are the commodity in athletics. They are the prize that everybody wants, and they are also the least respected people in the whole process. So yeah, he was going to do this to Black people.”\u003c/p>\n\u003cp>As is often the case, there are apparent regulatory and media failures, too. Ben Ferree, a former investigator for the Ohio High School Athletic Association, spends a lot of time in the film explaining how the rules were not adequate to respond to the Bishop Sycamore scheme, nor could he get anyone in the media interested in reporting on it until the ESPN game. And when there eventually was an investigation from the state, the report called Bishop Sycamore “a scam,” but concluded there was little authority to regulate it, because it was organized as a religious school.\u003c/p>\n\u003cfigure id=\"attachment_13933826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe\" alt=\"A Black football player wearing a 3 jersey, stands on the field. To his right, a Black man wearing a baseball cap and grey t-shirts counsels him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8.jpe 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roy Johnson (right) presented himself as a high school coach. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones even indirectly indicts the complicity of ESPN itself when he talks about how bad the game had to be for the broadcast team to start calling out how dangerous and lopsided it seemed to be: “It takes a lot for a broadcast crew to be critical of what they are seeing in real time … It had to be so transparently fraudulent that people who were on the payroll to promote this event could not keep up the story.”\u003c/p>\n\u003cp>[aside postid='arts_13931346']All of this exists alongside, not in place of, the presentation of Johnson as an unsettlingly cold figure who seems to feel only glee that he’s made himself famous. Johnson is a colorful character, but also, as Ferree says, “His life provided a fantastic case study for all the flaws of the legal system.” Johnson would have gotten nowhere without systems that were ripe to be exploited, and the filmmakers do a good job of balancing attention to the eye-popping persona that Johnson presents with asking bigger questions about whether the opportunities for exploitation that he capitalized on were created by forces much larger than any one guy.\u003c/p>\n\u003ch3>Telemarketing, police, and drugs in the bathrooms\u003c/h3>\n\u003cp>And that is the unlikely connection between \u003cem>BS High\u003c/em> and HBO’s other current scammer entry, the docuseries \u003cem>Telemarketers\u003c/em>, which airs its third and final episode this weekend. \u003cem>Telemarketers \u003c/em>is about a phenomenon familiar to many of us: the phone call asking for money for some kind of charity connected to local law enforcement. You’re told that your donation will support the families of fallen officers or injured ones, or just that it will more broadly support the police. The telemarketing company at issue here, a New Jersey outfit called Civic Development Group, also raised money for other charities sometimes, like cancer foundations and firefighters, but it appears that police organizations were the bread and butter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5EhxXmSsdOs\u003c/p>\n\u003cp>As it happens, in the early 2000s, a young guy named Sam Lipman-Stern started bringing a video camera to work to document the no-holds-barred, absolutely wild office environment at CDG, where nobody even cared if you did heroin in the bathroom as long as you hit your call numbers. Sam’s grainy amateur video is the backbone of the early part of the series, which he directed with Adam Bhala Lough, a documentarian who happens to be his cousin. The two connected years later when Sam had already spent a lot of time “investigating” CDG after he left.\u003c/p>\n\u003cp>What’s to investigate? Well, in reality, in the initial iteration of CDG — and the business changed shape a few times — only a small portion of the money collected went to the “charity.” (And that’s if the charity was legit at all.) The rest stayed with the telemarketing company. This isn’t that shocking on its own; this is probably something a lot of people know about these kinds of calls by now. But in addition to being a solid character study of both Sam and his buddy Pat, a colleague and a seemingly legendary money-raiser (who is so Jersey he might as well have a fresh tomato growing out of his ear), \u003cem>Telemarketers \u003c/em>also considers the systemic reasons why this scam worked.\u003c/p>\n\u003ch3>Why did people donate?\u003c/h3>\n\u003cp>One key detail is that when a caller donated money, they’d be sent a sticker that looked like an official police decal of some kind, and the telemarketer would tell you to put it on your car or on the door of your business. And while obviously there was never any promise that this would prevent you from getting a ticket or get you any better response for your premises, the telemarketers knew that one reason people wanted the decals was that … well, yeah, maybe it would mean you wouldn’t get a ticket. Of course, trading a law enforcement decision for a donation would be totally corrupt, meaning that while the scam certainly wasn’t reliant on \u003cem>actual \u003c/em>police corruption, it could be aided by a \u003cem>belief \u003c/em>in police corruption — the belief that giving money could prevent you from being ticketed.\u003c/p>\n\u003cfigure id=\"attachment_13933827\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg\" alt=\"A scruffy man with salt and pepper hair and a mustache and stubble, mugs for the camera in front of an old fashioned desktop computer. He is wearing a rugby shirt.\" width=\"720\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Pespas, a longtime telemarketer with Civic Development Group, is one of the very colorful characters in ‘Telemarketers.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, though, it capitalized on the sympathies of people who automatically wanted to give money as soon as law enforcement was mentioned, \u003cem>and \u003c/em>it played on the fears of people who might be fearful of how they’d be treated by law enforcement if they didn’t give. So you might give money because you respected the police (like a thank-you), or because you feared the police (like protection money), or because you thought the police would treat you better (like a bribe). So the film effectively posits that this scam wouldn’t work nearly as well without the very particular relationships Americans have with policing. (Later installments go much deeper into the specifics of where this money was even going; suffice it to say it’s complicated.)\u003c/p>\n\u003cp>[aside postid='arts_13932890']\u003cem>Telemarketers \u003c/em>also explores why this operation — which, unlike Bishop Sycamore, required a large number of people to participate in the scam — was able to find people who wanted to work there. And the answer is, obviously, limited options. They recruited callers at places like halfway houses, they hired people who had been incarcerated and had trouble getting work, they hired people whose addiction issues might make it hard for them to show up for a job where they \u003cem>couldn’t \u003c/em>get high in the bathroom during the day. Without a steady supply of people who didn’t have a lot of better choices and thus kept the job even though they found it very distasteful and didn’t feel great about working there, it stands to reason that somebody might have exposed the details of the operation a lot sooner.\u003c/p>\n\u003cp>And so, like \u003cem>BS High\u003c/em>, we circle back to bigger questions. Not just “how did this work?”, but “\u003cem>Why\u003c/em> did this work?” If you assume that the world is full of budding scammers, then it’s easy to think of successful rip-offs as individual failures in someone’s defenses — “I’d never fall for that.” But a lot of scams are not bespoke plots to capitalize on a person’s particular frailties. They are aimed directly at systemic weaknesses, at gates we’ve left open for people to walk right through: poverty, capitalist exploitation, racism, community relationships with police, incarceration that dumps people out into the world with nothing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A good scammer documentary keeps you entertained with larger-than-life characters, but has the sense, at its core, to recognize that if any one scammer had to do it all alone, it would never work. It may take a village to stop a scam, but sometimes, it takes the rules of the village to enable one, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=In+%27BS+High%27+and+%27Telemarketers%2C%27+scamming+is+a+group+effort&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thriving true-crime category in television is dominated by murders and scams, and it tends to be far better at explaining the latter than the former. Murders often don’t seem rationally motivated. Scams often do. And the best scam documentaries explore not just what drives the wild characters who hoodwink other people, but broken systems and wider failings that give them the ability to do it.\u003c/p>\n\u003cp>The latest scam documentary is from HBO. Called \u003cem>BS High\u003c/em>, it’s directed by Travon Free and Martin Desmond Roe, and it follows the story of the Bishop Sycamore football team. The team was supposedly out of Bishop Sycamore High School in Ohio. Only as it turned out, there was no Bishop Sycamore High School. There was only a football team run by a guy named Roy Johnson, who recruited young men who hadn’t successfully gotten into college football and promised them that his “program” could be a bridge for them to get there. But there were no classes and no academics, players say promises to improve grades or scores were fiction, and there wasn’t even any real coaching of value. This all came to light in 2021 after Bishop Sycamore was beaten 58-0 in a game against Florida’s IMG Academy (a highly rated actual sports academy) that was broadcast on ESPN.\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/aevincEID5Y'\n title='//www.youtube.com/embed/aevincEID5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A program that wasn’t what it appeared to be\u003c/h3>\n\u003cp>The specifics of the Bishop Sycamore scandal as reported in the documentary are upsetting, to say the least. On top of the broken promises, young men were injured, because the team didn’t have proper training support and was utterly unqualified to play the teams they played. They weren’t actually being prepared for elite football, which there’s no evidence Johnson knew how to coach. Some even wound up with evictions on their personal records (which can create problems down the road when you’re renting again) after players say Johnson failed to pay the bills he’d taken on for their housing. They also allege that he got them to apply for — or even applied on their behalf for — fraudulent PPP loans during the COVID pandemic (intended for small businesses) that provided money they could then give him to pay “tuition.” (Johnson denies this, and some, but not all, of the other claims from players. He also admits at one point that he doesn’t mind lying about anything he doesn’t think anybody can prove one way or the other.) Players say they weren’t even reliably fed, to the point where both Johnson and the team resorted to theft or scamming just so they could eat. These gory details are all fairly standard true-crime fare, despite their monstrousness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Where \u003cem>BS High\u003c/em> excels is in its consideration of the systemic failures that allow something like Bishop Sycamore to happen — and then potentially to keep happening. Sports journalist Bomani Jones says in the film that Johnson is not the problem, he’s a symptom of the problem. The problem is the amount of money in high school sports, and the fact that because paying players is verboten, adults collect all that money for \u003cem>supplying \u003c/em>the players that the system needs. (One of the more distasteful figures in the film is the guy in a suit whose company arranged Bishop Sycamore’s punishing and totally inappropriate schedule, including the game against IMG Academy. There’s money in “matchmaking” between high schools across the country, it turns out, no matter how lopsided the matchups.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jones talks, too, about the significance of the fact that most of these young players were Black, as is Johnson. “The fact that the players are Black is the reason why somebody like Roy Johnson would think that he could get away with this.” And so, Jones says, it’s the wrong angle to think in terms of why Johnson would do this to “his people.” Jones says: “He did that to his people because that’s who you can do this to. Black players are the commodity in athletics. They are the prize that everybody wants, and they are also the least respected people in the whole process. So yeah, he was going to do this to Black people.”\u003c/p>\n\u003cp>As is often the case, there are apparent regulatory and media failures, too. Ben Ferree, a former investigator for the Ohio High School Athletic Association, spends a lot of time in the film explaining how the rules were not adequate to respond to the Bishop Sycamore scheme, nor could he get anyone in the media interested in reporting on it until the ESPN game. And when there eventually was an investigation from the state, the report called Bishop Sycamore “a scam,” but concluded there was little authority to regulate it, because it was organized as a religious school.\u003c/p>\n\u003cfigure id=\"attachment_13933826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe\" alt=\"A Black football player wearing a 3 jersey, stands on the field. To his right, a Black man wearing a baseball cap and grey t-shirts counsels him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8.jpe 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roy Johnson (right) presented himself as a high school coach. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones even indirectly indicts the complicity of ESPN itself when he talks about how bad the game had to be for the broadcast team to start calling out how dangerous and lopsided it seemed to be: “It takes a lot for a broadcast crew to be critical of what they are seeing in real time … It had to be so transparently fraudulent that people who were on the payroll to promote this event could not keep up the story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of this exists alongside, not in place of, the presentation of Johnson as an unsettlingly cold figure who seems to feel only glee that he’s made himself famous. Johnson is a colorful character, but also, as Ferree says, “His life provided a fantastic case study for all the flaws of the legal system.” Johnson would have gotten nowhere without systems that were ripe to be exploited, and the filmmakers do a good job of balancing attention to the eye-popping persona that Johnson presents with asking bigger questions about whether the opportunities for exploitation that he capitalized on were created by forces much larger than any one guy.\u003c/p>\n\u003ch3>Telemarketing, police, and drugs in the bathrooms\u003c/h3>\n\u003cp>And that is the unlikely connection between \u003cem>BS High\u003c/em> and HBO’s other current scammer entry, the docuseries \u003cem>Telemarketers\u003c/em>, which airs its third and final episode this weekend. \u003cem>Telemarketers \u003c/em>is about a phenomenon familiar to many of us: the phone call asking for money for some kind of charity connected to local law enforcement. You’re told that your donation will support the families of fallen officers or injured ones, or just that it will more broadly support the police. The telemarketing company at issue here, a New Jersey outfit called Civic Development Group, also raised money for other charities sometimes, like cancer foundations and firefighters, but it appears that police organizations were the bread and butter.\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/5EhxXmSsdOs'\n title='//www.youtube.com/embed/5EhxXmSsdOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As it happens, in the early 2000s, a young guy named Sam Lipman-Stern started bringing a video camera to work to document the no-holds-barred, absolutely wild office environment at CDG, where nobody even cared if you did heroin in the bathroom as long as you hit your call numbers. Sam’s grainy amateur video is the backbone of the early part of the series, which he directed with Adam Bhala Lough, a documentarian who happens to be his cousin. The two connected years later when Sam had already spent a lot of time “investigating” CDG after he left.\u003c/p>\n\u003cp>What’s to investigate? Well, in reality, in the initial iteration of CDG — and the business changed shape a few times — only a small portion of the money collected went to the “charity.” (And that’s if the charity was legit at all.) The rest stayed with the telemarketing company. This isn’t that shocking on its own; this is probably something a lot of people know about these kinds of calls by now. But in addition to being a solid character study of both Sam and his buddy Pat, a colleague and a seemingly legendary money-raiser (who is so Jersey he might as well have a fresh tomato growing out of his ear), \u003cem>Telemarketers \u003c/em>also considers the systemic reasons why this scam worked.\u003c/p>\n\u003ch3>Why did people donate?\u003c/h3>\n\u003cp>One key detail is that when a caller donated money, they’d be sent a sticker that looked like an official police decal of some kind, and the telemarketer would tell you to put it on your car or on the door of your business. And while obviously there was never any promise that this would prevent you from getting a ticket or get you any better response for your premises, the telemarketers knew that one reason people wanted the decals was that … well, yeah, maybe it would mean you wouldn’t get a ticket. Of course, trading a law enforcement decision for a donation would be totally corrupt, meaning that while the scam certainly wasn’t reliant on \u003cem>actual \u003c/em>police corruption, it could be aided by a \u003cem>belief \u003c/em>in police corruption — the belief that giving money could prevent you from being ticketed.\u003c/p>\n\u003cfigure id=\"attachment_13933827\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg\" alt=\"A scruffy man with salt and pepper hair and a mustache and stubble, mugs for the camera in front of an old fashioned desktop computer. He is wearing a rugby shirt.\" width=\"720\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Pespas, a longtime telemarketer with Civic Development Group, is one of the very colorful characters in ‘Telemarketers.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, though, it capitalized on the sympathies of people who automatically wanted to give money as soon as law enforcement was mentioned, \u003cem>and \u003c/em>it played on the fears of people who might be fearful of how they’d be treated by law enforcement if they didn’t give. So you might give money because you respected the police (like a thank-you), or because you feared the police (like protection money), or because you thought the police would treat you better (like a bribe). So the film effectively posits that this scam wouldn’t work nearly as well without the very particular relationships Americans have with policing. (Later installments go much deeper into the specifics of where this money was even going; suffice it to say it’s complicated.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Telemarketers \u003c/em>also explores why this operation — which, unlike Bishop Sycamore, required a large number of people to participate in the scam — was able to find people who wanted to work there. And the answer is, obviously, limited options. They recruited callers at places like halfway houses, they hired people who had been incarcerated and had trouble getting work, they hired people whose addiction issues might make it hard for them to show up for a job where they \u003cem>couldn’t \u003c/em>get high in the bathroom during the day. Without a steady supply of people who didn’t have a lot of better choices and thus kept the job even though they found it very distasteful and didn’t feel great about working there, it stands to reason that somebody might have exposed the details of the operation a lot sooner.\u003c/p>\n\u003cp>And so, like \u003cem>BS High\u003c/em>, we circle back to bigger questions. Not just “how did this work?”, but “\u003cem>Why\u003c/em> did this work?” If you assume that the world is full of budding scammers, then it’s easy to think of successful rip-offs as individual failures in someone’s defenses — “I’d never fall for that.” But a lot of scams are not bespoke plots to capitalize on a person’s particular frailties. They are aimed directly at systemic weaknesses, at gates we’ve left open for people to walk right through: poverty, capitalist exploitation, racism, community relationships with police, incarceration that dumps people out into the world with nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A good scammer documentary keeps you entertained with larger-than-life characters, but has the sense, at its core, to recognize that if any one scammer had to do it all alone, it would never work. It may take a village to stop a scam, but sometimes, it takes the rules of the village to enable one, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=In+%27BS+High%27+and+%27Telemarketers%2C%27+scamming+is+a+group+effort&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s 1960s and ’70s Music Scene Takes Center Stage in New Docuseries",
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"content": "\u003cp>Janis Joplin’s first rehearsal with the rock band Big Brother & The Holding Company was apparently a loud affair. So loud it was alarming.\u003c/p>\n\u003cp>Bassist Peter Albin recalls the band raising the roof off one day in the 1960s when their playing was interrupted by a knock at the door. Two San Francisco police officers were investigating reports of a woman screaming.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers get a street-level view of the rise of the San Francisco dream — artistic freedom, community and authenticity — and its fall, thanks to hard drugs, commercialism and increasingly hard edges. The time period is 1965 to 1975, short but sweet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LTD7C-oFhc\u003c/p>\n\u003cp>“It’s not just the music,” says co-director Anoosh Tertzakian. “Everybody was trying to break the rules of whatever their medium was, and I think it’s in that breaking the rules that they found something new. The music was what was keeping the pulse together.”\u003c/p>\n\u003cp>The docuseries explores how the Grateful Dead got some of their iconic logos, how city music venues Avalon Ballroom and The Fillmore began, how the seminal Jefferson Airplane song “White Rabbit” came about and how the deaths at the Altamont show soured the hippie mood.\u003c/p>\n\u003cp>[aside postid='arts_13039627']Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>[aside postid='arts_13920973']The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viewers get a street-level view of the rise of the San Francisco dream — artistic freedom, community and authenticity — and its fall, thanks to hard drugs, commercialism and increasingly hard edges. The time period is 1965 to 1975, short but sweet.\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/-LTD7C-oFhc'\n title='//www.youtube.com/embed/-LTD7C-oFhc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s not just the music,” says co-director Anoosh Tertzakian. “Everybody was trying to break the rules of whatever their medium was, and I think it’s in that breaking the rules that they found something new. The music was what was keeping the pulse together.”\u003c/p>\n\u003cp>The docuseries explores how the Grateful Dead got some of their iconic logos, how city music venues Avalon Ballroom and The Fillmore began, how the seminal Jefferson Airplane song “White Rabbit” came about and how the deaths at the Altamont show soured the hippie mood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
