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"content": "\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>[aside postid='pop_108474']The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>[aside postid='arts_13883630']Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers",
"headTitle": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers | KQED",
"content": "\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>[aside postid='arts_13951958']Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JlyYimV6Qqw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iCNMXENmOpk\u003c/p>\n\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>[aside postid='arts_13880441']A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>[aside postid='arts_13914487']That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>[aside postid='arts_13951641']“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JlyYimV6Qqw'\n title='//www.youtube.com/embed/JlyYimV6Qqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iCNMXENmOpk'\n title='//www.youtube.com/embed/iCNMXENmOpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"headTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session | KQED",
"content": "\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>[aside postid='arts_13936153']“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MD3oU1gowu4\u003c/p>\n\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>[aside postid='arts_13951078']The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MD3oU1gowu4'\n title='//www.youtube.com/embed/MD3oU1gowu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\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>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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"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>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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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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"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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"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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"title": "‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism",
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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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"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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"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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"tagline": "Where conversation and cultura meet",
"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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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