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"content": "\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>[aside postid='forum_2010101889042']“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dicNcmt10DU\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\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/dicNcmt10DU'\n title='//www.youtube.com/embed/dicNcmt10DU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Powerful, Stylized ‘Kokomo City’ Allows Trans Sex Workers to Strut",
"headTitle": "Powerful, Stylized ‘Kokomo City’ Allows Trans Sex Workers to Strut | KQED",
"content": "\u003cp>A bold, blistering and beautiful work of Black affirmation, D. Smith’s \u003cem>Kokomo City\u003c/em> does not fit neatly into any of the conventional boxes of documentary. By turns curious and angry, and clear and confounding, the film ultimately lands as a statement of defiance. If \u003cem>Kokomo City\u003c/em> begins (like most films) as an invitation, it is not intended for everybody.\u003c/p>\n\u003cp>[aside postid='arts_13928870']The filmmaker assembles the candid, addressed-directly-to-the-camera testimonies of four Black trans sex workers — Daniella Carter (Queens), Dominique Silver (Manhattan), Koko Da Doll (Atlanta) and Liyah Mitchell (Decatur, Georgia) — interspersed with the musings of a handful of men who are attracted to trans women. Smith plainly encouraged her subjects to talk about whatever they wanted, which propels the film far beyond descriptions of how the subjects got into sex work, the threats to life and limb, and their hard-earned perspectives on money, clients, body image and relationships.\u003c/p>\n\u003cp>While some of those experiences and insights might be universal among sex workers, the most compelling comments pertain specifically to being trans. “We’re meeting guy after guy who’s in denial after denial,” Daniella Carter says. “In no way are they there to protect us. They’re there to exploit us, to fetishize us.”\u003c/p>\n\u003cfigure id=\"attachment_13932622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1-800x450.jpg\" alt=\"a black and white photo of a Black woman in a sleeping camp, looking skeptically up and away from the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniella Carter in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The loathing and fear that most trans people (including sex workers) encounter is something of a recurring theme in \u003cem>Kokomo City\u003c/em>. Now consider that the film was shot \u003cem>before\u003c/em> the current wave of irrational transphobia ginned up by Republican politicians, pseudo-religious fanatics and right-wing media, and this comment by a young man named Inw Tarxan (straight-talking with his friend Lexx Pharoah in a car) rings out: “When you’re young, that’s what you’re going to do: You’re going to hate who the people that love you tell you to hate.”\u003c/p>\n\u003cp>D. Smith was blindsided by a devastating form of that prejudice. A rising music producer (Lil Wayne’s \u003cem>Tha Carter III\u003c/em>, among other credits), she came out as transgender in 2014. Overnight, seemingly, her calls weren’t returned and her career evaporated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It took me years to think about the fact that people around me loved D. Smith the guy, they trusted that person — literally one day I was wearing jeans and Timberlands and a trucker hat, and the next day I was wearing blue eyeshadow and heels,” she told \u003cem>The Guardian\u003c/em> (UK) in a recent interview. “I didn’t give people a heads up, and you don’t owe anybody an explanation of who you are, but at the same time, how do you realistically expect people to completely accept you [straight away]? That’s actually not fair.”\u003c/p>\n\u003cfigure id=\"attachment_13932626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932626\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1-800x1067.jpg\" alt=\"a Black woman in a black tank top with curly blonde hair looks defiantly at the camera\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">D. Smith, director of ‘Kokomo City,’ said her music career evaporated after she came out as transgender. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s successful transition to filmmaking — \u003cem>Kokomo City\u003c/em> received the Innovator and Audience awards in Sundance’s NEXT section and the Teddy for Best Documentary/Essay Film along with the Panorama Audience Award at the Berlin International Film Festival — is a triumph of style hand-in-glove with substance. Shot in luxuriously decadent black-and-white and studded with aggressive music cues (such as slide guitarist Kokomo Arnold’s 1934 “\u003ca href=\"https://www.youtube.com/watch?v=VuRO8qJl51s\" target=\"_blank\" rel=\"noopener\">Sissy Man Blues\u003c/a>”), \u003cem>Kokomo City\u003c/em> is a visual and sonic delight.\u003c/p>\n\u003cp>The film’s aesthetic serves two purposes. From the outset, it demolishes the pro forma expectations of the social-issue documentary. We aren’t here to be educated and informed, nor to be immersed in the street grit of a largely out-of-sight social problem.\u003c/p>\n\u003cp>Secondly, the stylized blend of interviews, staged scenes and reenactments provides the quartet of protagonists with a heightened level of personal expression. Smith allows them to be glamorous without diminishing their power or anger. The overall effect is that we never tire of seeing and hearing Daniella, Dominique, Koko or Liyah.\u003c/p>\n\u003cfigure id=\"attachment_13932627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5-800x450.jpg\" alt=\"a black and white photo of a Black woman with a headscarf on, laying down looking upward at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Liyah Mitchell in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All that said, \u003cem>Kokomo City\u003c/em> doesn’t aspire to be a crossover film — that is, to raise the consciousness of mainstream, cisgender Americans about trans people (or sex workers, for that matter). It is painfully, powerfully profound about the Black American experience, however, thanks to the unique perspective of Black trans sex workers. Sex is often about power, which gives Dominique, et al their terrific insights.\u003c/p>\n\u003cp>The most unexpected and cutting observation is provided by the brilliant, bracing Daniella Carter, who acknowledges the pain they unwittingly caused their mother when they came out as trans.\u003c/p>\n\u003cp>“That has to hurt, as a Black woman hurt by Black men, then give birth to a Black man, and he says, ‘I’m not here to protect you, I’m here to be in some ways just as vulnerable as you,’” Carter bravely confides in us. “I think that’s hard for a lot of Black women to accept.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘Kokomo City’ opens \u003ca href=\"https://roxie.com/film/kokomo-city/\" target=\"_blank\" rel=\"noopener\">Friday, Aug. 4 at the Roxie Theater\u003c/a> in San Francisco. Gallerist Jonathan Carver Moore will moderate an opening night Q&A with Breonna McCree, executive director of the Transgender District, and Honey Mahogany, chair of the San Francisco Democratic Party. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The film also screens \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\" target=\"_blank\" rel=\"noopener\">Aug. 7 and 8 a\u003c/a>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\">t the Four Star Theater in San Francisco\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A bold, blistering and beautiful work of Black affirmation, D. Smith’s \u003cem>Kokomo City\u003c/em> does not fit neatly into any of the conventional boxes of documentary. By turns curious and angry, and clear and confounding, the film ultimately lands as a statement of defiance. If \u003cem>Kokomo City\u003c/em> begins (like most films) as an invitation, it is not intended for everybody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The filmmaker assembles the candid, addressed-directly-to-the-camera testimonies of four Black trans sex workers — Daniella Carter (Queens), Dominique Silver (Manhattan), Koko Da Doll (Atlanta) and Liyah Mitchell (Decatur, Georgia) — interspersed with the musings of a handful of men who are attracted to trans women. Smith plainly encouraged her subjects to talk about whatever they wanted, which propels the film far beyond descriptions of how the subjects got into sex work, the threats to life and limb, and their hard-earned perspectives on money, clients, body image and relationships.\u003c/p>\n\u003cp>While some of those experiences and insights might be universal among sex workers, the most compelling comments pertain specifically to being trans. “We’re meeting guy after guy who’s in denial after denial,” Daniella Carter says. “In no way are they there to protect us. They’re there to exploit us, to fetishize us.”\u003c/p>\n\u003cfigure id=\"attachment_13932622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1-800x450.jpg\" alt=\"a black and white photo of a Black woman in a sleeping camp, looking skeptically up and away from the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniella Carter in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The loathing and fear that most trans people (including sex workers) encounter is something of a recurring theme in \u003cem>Kokomo City\u003c/em>. Now consider that the film was shot \u003cem>before\u003c/em> the current wave of irrational transphobia ginned up by Republican politicians, pseudo-religious fanatics and right-wing media, and this comment by a young man named Inw Tarxan (straight-talking with his friend Lexx Pharoah in a car) rings out: “When you’re young, that’s what you’re going to do: You’re going to hate who the people that love you tell you to hate.”\u003c/p>\n\u003cp>D. Smith was blindsided by a devastating form of that prejudice. A rising music producer (Lil Wayne’s \u003cem>Tha Carter III\u003c/em>, among other credits), she came out as transgender in 2014. Overnight, seemingly, her calls weren’t returned and her career evaporated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It took me years to think about the fact that people around me loved D. Smith the guy, they trusted that person — literally one day I was wearing jeans and Timberlands and a trucker hat, and the next day I was wearing blue eyeshadow and heels,” she told \u003cem>The Guardian\u003c/em> (UK) in a recent interview. “I didn’t give people a heads up, and you don’t owe anybody an explanation of who you are, but at the same time, how do you realistically expect people to completely accept you [straight away]? That’s actually not fair.”\u003c/p>\n\u003cfigure id=\"attachment_13932626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932626\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1-800x1067.jpg\" alt=\"a Black woman in a black tank top with curly blonde hair looks defiantly at the camera\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">D. Smith, director of ‘Kokomo City,’ said her music career evaporated after she came out as transgender. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s successful transition to filmmaking — \u003cem>Kokomo City\u003c/em> received the Innovator and Audience awards in Sundance’s NEXT section and the Teddy for Best Documentary/Essay Film along with the Panorama Audience Award at the Berlin International Film Festival — is a triumph of style hand-in-glove with substance. Shot in luxuriously decadent black-and-white and studded with aggressive music cues (such as slide guitarist Kokomo Arnold’s 1934 “\u003ca href=\"https://www.youtube.com/watch?v=VuRO8qJl51s\" target=\"_blank\" rel=\"noopener\">Sissy Man Blues\u003c/a>”), \u003cem>Kokomo City\u003c/em> is a visual and sonic delight.\u003c/p>\n\u003cp>The film’s aesthetic serves two purposes. From the outset, it demolishes the pro forma expectations of the social-issue documentary. We aren’t here to be educated and informed, nor to be immersed in the street grit of a largely out-of-sight social problem.\u003c/p>\n\u003cp>Secondly, the stylized blend of interviews, staged scenes and reenactments provides the quartet of protagonists with a heightened level of personal expression. Smith allows them to be glamorous without diminishing their power or anger. The overall effect is that we never tire of seeing and hearing Daniella, Dominique, Koko or Liyah.\u003c/p>\n\u003cfigure id=\"attachment_13932627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5-800x450.jpg\" alt=\"a black and white photo of a Black woman with a headscarf on, laying down looking upward at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Liyah Mitchell in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All that said, \u003cem>Kokomo City\u003c/em> doesn’t aspire to be a crossover film — that is, to raise the consciousness of mainstream, cisgender Americans about trans people (or sex workers, for that matter). It is painfully, powerfully profound about the Black American experience, however, thanks to the unique perspective of Black trans sex workers. Sex is often about power, which gives Dominique, et al their terrific insights.\u003c/p>\n\u003cp>The most unexpected and cutting observation is provided by the brilliant, bracing Daniella Carter, who acknowledges the pain they unwittingly caused their mother when they came out as trans.\u003c/p>\n\u003cp>“That has to hurt, as a Black woman hurt by Black men, then give birth to a Black man, and he says, ‘I’m not here to protect you, I’m here to be in some ways just as vulnerable as you,’” Carter bravely confides in us. “I think that’s hard for a lot of Black women to accept.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘Kokomo City’ opens \u003ca href=\"https://roxie.com/film/kokomo-city/\" target=\"_blank\" rel=\"noopener\">Friday, Aug. 4 at the Roxie Theater\u003c/a> in San Francisco. Gallerist Jonathan Carver Moore will moderate an opening night Q&A with Breonna McCree, executive director of the Transgender District, and Honey Mahogany, chair of the San Francisco Democratic Party. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The film also screens \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\" target=\"_blank\" rel=\"noopener\">Aug. 7 and 8 a\u003c/a>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\">t the Four Star Theater in San Francisco\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Resilience of Steph Curry is Explored in New Apple TV+ Documentary",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13927474/stephen-curry-underrated-documentary-peter-nicks\">\u003cem>Stephen Curry: Underrated\u003c/em>\u003c/a> is easily one of the most inspirational movies of the year.\u003c/p>\n\u003cp>This is a portrait of a man — the greatest three-point shooter of all time — who has felt inferior playing the game he loves since he was a scrawny kid playing on his local under-10 team. It’s easy to roll your eyes at supermodels who say they were teased when they were kids or famous actors who look like the captain of the football team insisting they were outcasts in high school. In the rear-view mirror, when things have gone so well after that origin story, it just always rings a little false.\u003c/p>\n\u003cp>[aside postid='arts_13927474']But in this documentary, directed by Peter Nicks and streaming on Apple TV+ Friday, the filmmakers put you in Curry’s shoes. They show you video of him on that under-10 team, indeed looking scrawnier than his counterparts and with the posture of someone who’s already self-conscious about it.\u003c/p>\n\u003cp>They have Reggie Miller on hand to read the draft report which says Curry is “far below NBA standard in regard to explosiveness and athleticism,” extremely short for a shooting guard position, and cautions “do not rely on him to run your team.” Ouch.\u003c/p>\n\u003cp>And they close in on his face at some of the biggest moments of his career, both in college and in the NBA, to show a reaction that’s neither smug nor nonchalant or overly celebratory: It’s authentic astonishment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=csMgsPbzs5o\u003c/p>\n\u003cp>As if to upend expectations even more, the present timeline of \u003cem>Stephen Curry: Underrated\u003c/em> is not focused on a season or chasing a title — though there is plenty of basketball, including the moment he breaks the three-point record. It’s almost more about college — deciding he wanted to play at school, finding the right school for himself and, many years and championships later, studying to finish what he started, while juggling his career, his contracts and his family.\u003c/p>\n\u003cp>[aside postid='arts_13928775']In 2009, Curry decided to leave Davidson College a year early, without graduating, to pursue professional basketball. But he made a promise his mother, Sonya, that he’d go back and finish at some point.\u003c/p>\n\u003cp>Curry and Davidson, like most healthy athlete-school agreements, seemed to choose one another at exactly the right time. When he got in, feeling good about himself, he went to tell his friends: They’d never even heard of the small liberal arts college in North Carolina. That was a bit disappointing but what would have been even worse is if he’d accidentally sabotaged the whole thing by not responding to coach Bob McKillop, who started to worry whether his recruit was being pursued by other schools when Curry went dark.\u003c/p>\n\u003cp>From high school to college on into the pros, something that struck many about Curry is how he makes a lot of mistakes but never seems to wallow in them. When he goes up against Michigan for the first time in college, he describes how everything that could go wrong went wrong. Later, his coach said he was going to start the next game. McKillop saw in his perseverance a toughness that was rare in players.\u003c/p>\n\u003cp>His parents, Dell and Sonya, helped shepherd that discipline but always because he wanted it — not some horrifying reversal in which the parents are the drivers of something.\u003c/p>\n\u003cp>[aside postid='arts_13914916']You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc \u003cem>The Last Dance\u003c/em>, this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Curry says in a zen sort of way, he’s just, ”Trying to find the space to survey my life … Let my mind think about how I got here.”\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\">\u003cem>‘Stephen Curry: Underrated,’ begins streaming on Friday, July 21, via Apple TV+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in this documentary, directed by Peter Nicks and streaming on Apple TV+ Friday, the filmmakers put you in Curry’s shoes. They show you video of him on that under-10 team, indeed looking scrawnier than his counterparts and with the posture of someone who’s already self-conscious about it.\u003c/p>\n\u003cp>They have Reggie Miller on hand to read the draft report which says Curry is “far below NBA standard in regard to explosiveness and athleticism,” extremely short for a shooting guard position, and cautions “do not rely on him to run your team.” Ouch.\u003c/p>\n\u003cp>And they close in on his face at some of the biggest moments of his career, both in college and in the NBA, to show a reaction that’s neither smug nor nonchalant or overly celebratory: It’s authentic astonishment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/csMgsPbzs5o'\n title='//www.youtube.com/embed/csMgsPbzs5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As if to upend expectations even more, the present timeline of \u003cem>Stephen Curry: Underrated\u003c/em> is not focused on a season or chasing a title — though there is plenty of basketball, including the moment he breaks the three-point record. It’s almost more about college — deciding he wanted to play at school, finding the right school for himself and, many years and championships later, studying to finish what he started, while juggling his career, his contracts and his family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2009, Curry decided to leave Davidson College a year early, without graduating, to pursue professional basketball. But he made a promise his mother, Sonya, that he’d go back and finish at some point.\u003c/p>\n\u003cp>Curry and Davidson, like most healthy athlete-school agreements, seemed to choose one another at exactly the right time. When he got in, feeling good about himself, he went to tell his friends: They’d never even heard of the small liberal arts college in North Carolina. That was a bit disappointing but what would have been even worse is if he’d accidentally sabotaged the whole thing by not responding to coach Bob McKillop, who started to worry whether his recruit was being pursued by other schools when Curry went dark.\u003c/p>\n\u003cp>From high school to college on into the pros, something that struck many about Curry is how he makes a lot of mistakes but never seems to wallow in them. When he goes up against Michigan for the first time in college, he describes how everything that could go wrong went wrong. Later, his coach said he was going to start the next game. McKillop saw in his perseverance a toughness that was rare in players.\u003c/p>\n\u003cp>His parents, Dell and Sonya, helped shepherd that discipline but always because he wanted it — not some horrifying reversal in which the parents are the drivers of something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc \u003cem>The Last Dance\u003c/em>, this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Curry says in a zen sort of way, he’s just, ”Trying to find the space to survey my life … Let my mind think about how I got here.”\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\">\u003cem>‘Stephen Curry: Underrated,’ begins streaming on Friday, July 21, via Apple TV+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘20 Days in Mariupol’ Documentary, the Horrors of War Are Illuminated",
"headTitle": "In ‘20 Days in Mariupol’ Documentary, the Horrors of War Are Illuminated | KQED",
"content": "\u003cp>Associated Press video journalist Mstyslav Chernov had just broken out of Mariupol after covering the first 20 days of the Russian invasion of the Ukrainian city and was feeling guilty about leaving. He and his colleagues, photographer Evgeniy Maloletka and producer Vasilisa Stepanenko, had been the last journalists there, sending crucial dispatches from a city under a full-scale assault.\u003c/p>\n\u003cp>The day after, a theater with hundreds of people sheltering inside was bombed and he knew no one was there to document it. That’s when Chernov decided he wanted to do something bigger. He’d filmed some 30 hours of footage over his days in Mariupol. But poor — and sometimes no — internet connections made it extremely difficult to export anything. All told, he estimates only about 40 minutes of that successfully made it out to the world.\u003c/p>\n\u003cp>“Those shots which went out were very important. They went on the AP and then to thousands of news outlets,” Chernov said earlier this year. “However, I had much more. … I thought I should do something more. I should do something more with that 30 hours of footage to tell a bigger story and more context to show the audience of the scale.”\u003c/p>\n\u003cp>[aside postid='arts_13930824']The bigger story became a documentary, \u003cem>20 Days in Mariupol\u003c/em>, a joint project between The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, which premiered earlier this year at Sundance Film Festival in Park City, Utah, where it won the audience award for world cinema documentary. Their reporting was also awarded two Pulitzer Prizes, including the prestigious public service award and for breaking news photography. And now the film is coming to a handful of theaters around the U.S. in July, starting with New York and Chicago this Friday.\u003c/p>\n\u003cp>Chernov knew there were many ways to tell this story. But he decided early on to keep it contained to those harrowing first 20 days that he and his colleagues were on the ground, to evoke the claustrophobic feeling of being trapped. He also chose to narrate it himself and tell it as a journalist would.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s just a lens through which we see the stories of Mariupol’s residents, the death, their suffering, the destruction of their homes,” he said. “At the same time, I felt that I can do it. I’m allowed to do it because I’m part of the community. I was born in eastern Ukraine and [a] photographer who worked with me was born in the city which is right next to Mariupol, which got occupied. So this is our story too.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9H_Fg_5x4ME\u003c/p>\n\u003cp>As an AP employee, Chernov was extremely aware of maintaining neutrality and being unbiased.\u003c/p>\n\u003cp>“It’s OK to tell the audiences about your emotions,” he said. “It’s just important to not let those emotions dictate what you show and don’t show. … While narrated by me, I still tried to keep it fair.”\u003c/p>\n\u003cp>[aside postid='arts_13931346']He encounters quite a few different reactions to him and his colleagues being on the ground. Some thanked them for doing their jobs. Some called them prostitutes. Some doctors urged them to film graphic scenes of injured and dead children to show the world what had been done.\u003c/p>\n\u003cp>After Chernov left Mariupol and was finally able to catch up with the news reports around the world, he was stunned by the effect their footage had. They followed up with people they’d met during their time there, some who got out, others who didn’t, and asked whether or not they’d affected their lives.\u003c/p>\n\u003cp>Some said relatives had found them because of the footage, or that they’d been able to get help. Doctors and officials said it made it easier to negotiate the green corridor to safety.\u003c/p>\n\u003cp>“I don’t know how much of that is our footage, how much of that is just what happens,” Chernov said. “But I really would like to believe that we did make a difference, because I guess that’s what journalism is about, to inform people so they make certain decisions.”\u003c/p>\n\u003cp>Another mission for him was to provide historical evidence for potential war crimes. Chernov is keenly aware that the war is not even history yet. It is a painful reality that is ongoing.\u003c/p>\n\u003cp>At Sundance he was able to watch the film, edited by Michelle Mizner of \u003cem>Frontline\u003c/em>, with an audience two times. The film got a standing ovation at the premiere. And at a subsequent screening he met several audience members who said they were from Mariupol and that their relatives were escaping the besieged city at the same time he was. The theaters had counselors on standby in case anyone needed support.\u003c/p>\n\u003cp>[aside postid='arts_13929913']“I hoped they will have emotional responses and they did. But at the same time to watch people crying, it’s hard,” he said. “When you place an audience for 90 minutes into this chaos and this mess and this violence, there is a risk of people getting too overwhelmed or even pushed back by the amount of this violence.\u003c/p>\n\u003cp>“You just really want to show how it really was,” he added. “That was the main challenge of making choices while assembling the film. How do you show the gravity but at the same time not push the audience away? … We had already two screenings and audience responses are very strong. People are crying, people are depressed and they express a wide range of feelings, from anger, to sadness, to grief. That is what I as a filmmaker intended to do. But at the same time, I realize that probably that’s not easy for everyone.”\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>‘\u003ca href=\"https://20daysinmariupol.com/\">20 Days in Mariupol\u003c/a>’ opens July 21 in Bay Area theaters. Director Mstyslav Chernov will be in person at \u003ca href=\"https://roxie.com/film/20-days-in-mariupol/\">the Roxie Theater\u003c/a> (3117 16th St., San Francisco) on Saturday, July 22 for a Q&A moderated by Amanda Pike. Chernov will also appear on Sunday, July 23 at \u003ca href=\"https://rafaelfilm.cafilm.org/20-days-in-mariupol/\">the San Rafael Film Center\u003c/a> (1118 Fourth St., San Rafael). \u003c/em>\u003c/p>\n\n",
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"excerpt": "PBS and The Associated Press have joined forces with Ukrainian journalist Mstyslav Chernov for the film.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Associated Press video journalist Mstyslav Chernov had just broken out of Mariupol after covering the first 20 days of the Russian invasion of the Ukrainian city and was feeling guilty about leaving. He and his colleagues, photographer Evgeniy Maloletka and producer Vasilisa Stepanenko, had been the last journalists there, sending crucial dispatches from a city under a full-scale assault.\u003c/p>\n\u003cp>The day after, a theater with hundreds of people sheltering inside was bombed and he knew no one was there to document it. That’s when Chernov decided he wanted to do something bigger. He’d filmed some 30 hours of footage over his days in Mariupol. But poor — and sometimes no — internet connections made it extremely difficult to export anything. All told, he estimates only about 40 minutes of that successfully made it out to the world.\u003c/p>\n\u003cp>“Those shots which went out were very important. They went on the AP and then to thousands of news outlets,” Chernov said earlier this year. “However, I had much more. … I thought I should do something more. I should do something more with that 30 hours of footage to tell a bigger story and more context to show the audience of the scale.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bigger story became a documentary, \u003cem>20 Days in Mariupol\u003c/em>, a joint project between The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, which premiered earlier this year at Sundance Film Festival in Park City, Utah, where it won the audience award for world cinema documentary. Their reporting was also awarded two Pulitzer Prizes, including the prestigious public service award and for breaking news photography. And now the film is coming to a handful of theaters around the U.S. in July, starting with New York and Chicago this Friday.\u003c/p>\n\u003cp>Chernov knew there were many ways to tell this story. But he decided early on to keep it contained to those harrowing first 20 days that he and his colleagues were on the ground, to evoke the claustrophobic feeling of being trapped. He also chose to narrate it himself and tell it as a journalist would.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s just a lens through which we see the stories of Mariupol’s residents, the death, their suffering, the destruction of their homes,” he said. “At the same time, I felt that I can do it. I’m allowed to do it because I’m part of the community. I was born in eastern Ukraine and [a] photographer who worked with me was born in the city which is right next to Mariupol, which got occupied. So this is our story too.”\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/9H_Fg_5x4ME'\n title='//www.youtube.com/embed/9H_Fg_5x4ME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As an AP employee, Chernov was extremely aware of maintaining neutrality and being unbiased.\u003c/p>\n\u003cp>“It’s OK to tell the audiences about your emotions,” he said. “It’s just important to not let those emotions dictate what you show and don’t show. … While narrated by me, I still tried to keep it fair.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He encounters quite a few different reactions to him and his colleagues being on the ground. Some thanked them for doing their jobs. Some called them prostitutes. Some doctors urged them to film graphic scenes of injured and dead children to show the world what had been done.\u003c/p>\n\u003cp>After Chernov left Mariupol and was finally able to catch up with the news reports around the world, he was stunned by the effect their footage had. They followed up with people they’d met during their time there, some who got out, others who didn’t, and asked whether or not they’d affected their lives.\u003c/p>\n\u003cp>Some said relatives had found them because of the footage, or that they’d been able to get help. Doctors and officials said it made it easier to negotiate the green corridor to safety.\u003c/p>\n\u003cp>“I don’t know how much of that is our footage, how much of that is just what happens,” Chernov said. “But I really would like to believe that we did make a difference, because I guess that’s what journalism is about, to inform people so they make certain decisions.”\u003c/p>\n\u003cp>Another mission for him was to provide historical evidence for potential war crimes. Chernov is keenly aware that the war is not even history yet. It is a painful reality that is ongoing.\u003c/p>\n\u003cp>At Sundance he was able to watch the film, edited by Michelle Mizner of \u003cem>Frontline\u003c/em>, with an audience two times. The film got a standing ovation at the premiere. And at a subsequent screening he met several audience members who said they were from Mariupol and that their relatives were escaping the besieged city at the same time he was. The theaters had counselors on standby in case anyone needed support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I hoped they will have emotional responses and they did. But at the same time to watch people crying, it’s hard,” he said. “When you place an audience for 90 minutes into this chaos and this mess and this violence, there is a risk of people getting too overwhelmed or even pushed back by the amount of this violence.\u003c/p>\n\u003cp>“You just really want to show how it really was,” he added. “That was the main challenge of making choices while assembling the film. How do you show the gravity but at the same time not push the audience away? … We had already two screenings and audience responses are very strong. People are crying, people are depressed and they express a wide range of feelings, from anger, to sadness, to grief. That is what I as a filmmaker intended to do. But at the same time, I realize that probably that’s not easy for everyone.”\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>‘\u003ca href=\"https://20daysinmariupol.com/\">20 Days in Mariupol\u003c/a>’ opens July 21 in Bay Area theaters. Director Mstyslav Chernov will be in person at \u003ca href=\"https://roxie.com/film/20-days-in-mariupol/\">the Roxie Theater\u003c/a> (3117 16th St., San Francisco) on Saturday, July 22 for a Q&A moderated by Amanda Pike. Chernov will also appear on Sunday, July 23 at \u003ca href=\"https://rafaelfilm.cafilm.org/20-days-in-mariupol/\">the San Rafael Film Center\u003c/a> (1118 Fourth St., San Rafael). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The League’ Joyfully Reframes the Heyday of Black Baseball",
"headTitle": "‘The League’ Joyfully Reframes the Heyday of Black Baseball | KQED",
"content": "\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.[aside postid='arts_13875504']\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "every-body-intersex-documentary-lgbtqia-david-reimer-river-gallo-saifa-alicia-weigel",
"title": "‘Every Body’ Paints an Expansive Portrait of Intersex Beauty and Resilience",
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"content": "\u003cp>Certain documentaries have stuck with me. Especially those about people who’ve survived physical violations only to suffer mental and emotional violations in their fight for justice. I’m thinking of 2012’s \u003cem>The Invisible War\u003c/em>, about the handling of sexual assaults in the military, and 2015’s \u003cem>The Hunting Ground\u003c/em>, about survivors of on-campus sexual assault. Both left me with a burning pit in my stomach long after the credits rolled.\u003c/p>\n\u003cp>I was reminded of that sensation while watching the brand new documentary, \u003cem>Every Body\u003c/em>. At times, particularly towards its end, the new film — all about the ‘I’ in LGBTQIA — leans hard into themes of hope and optimism. But \u003cem>Every Body\u003c/em>’s core does such a good job of explaining the litany of wrongs historically done to American intersex people that a deep sense of injustice is hard to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13930826\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/every_body.jpg\" alt=\"\" width=\"510\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body-160x237.jpg 160w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Every Body’ documents — and celebrates — the lives of three intersex people.\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of \u003cem>Every Body\u003c/em> (directed by Julie Cohen, who was also responsible for 2018’s excellent \u003ca href=\"https://www.imdb.com/title/tt7689964/?ref_=nv_sr_srsg_0_tt_5_nm_3_q_RBG\">\u003cem>RBG\u003c/em>\u003c/a>) are three enormously charismatic and likable intersex folks. There’s Sean Saifa Wall (he/him) who was born with an ambiguous gender, but surgically forced into a female-appearing body in infancy. It was a decision made by doctors to, according to medical notes, “protect [Wall’s] parents’ emotional wellbeing.” Wall is clear here that he felt like a male from day one and has been living with the consequences of that early medical intervention ever since.\u003c/p>\n\u003cp>[aside postid='arts_13927774']Then there’s Alicia Roth Weigel (she/they) who was born with XY chromosomes, but always outwardly presented as female. Alicia was born with internal testes instead of a uterus, but grew up being told to keep it a secret from everyone in her life, including her own brother. (At one point here, she admits to carrying tampons in her purse during her teens in order to avoid scrutiny about her lack of a period.) Weigel first came out publicly in 2017 when \u003ca href=\"https://www.youtube.com/watch?v=ZFjpr9DnAR4\">she testified before the Texas Congress\u003c/a>, arguing against the state’s \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\">controversial bathroom bill\u003c/a>, which was ultimately struck down.\u003c/p>\n\u003cp>Finally, there’s River Gallo (they/them), who was raised as a boy — and is still misgendered by their own mother — despite being born without testes. Gallo was given prosthetic testicles in their teens and had almost no say in their medical treatment whatsoever. (Gallo also received zero professional psychological support at the time.) Despite a somewhat confusing upbringing, Gallo has since learned to fully embrace their intersex qualities. And they are all the more radiant for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SoNvk5N-MKo\u003c/p>\n\u003cp>Wall, Weigel and Gallo’s individual stories are compelling and intimately told in a way that, even if \u003cem>Every Body\u003c/em> had only focused on the trio, it would still have been an essential portrait of intersex lives and realities. Where the film goes above and beyond, however, is in how it explains the history and rationale of the medical professionals who, for so long, forced unnecessary surgical procedures on intersex infants and youth. One gets the distinct impression that these monumental decisions — attempting to force intersex children into the gender binary — were often made casually and, in many cases, without much parental input. One also gets the unsettling feeling that they are probably still happening in more places than they should be.\u003c/p>\n\u003cp>[aside postid='arts_13929913']\u003cem>Every Body\u003c/em> traces the roots of these damaging practices back to a psychologist named John Money, who argued that gender identity could be fashioned externally and via social constructs, and was not in fact, self-directed. Money’s treatment of one particular patient in the 1970s, David Reimer, can only be described as an unmitigated, gut-wrenching disaster. Reimer’s story may be agonizing to watch now, but it contains essential lessons around the importance of allowing individuals — all individuals — to self-identify their own genders.\u003c/p>\n\u003cp>One is struck at the end of these engrossing 92 minutes just how misunderstood intersex people remain in 2023, and how much their stories — searing and impactful though they are — have been neglected thus far. \u003cem>Every Body\u003c/em> very effectively seeks to rectify that. Once you watch it, you’ll never forget the ‘I’ in LGBTQI ever again.\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>‘\u003ca href=\"https://www.focusfeatures.com/every-body/\">Every Body\u003c/a>’ opens in Bay Area theaters on June 30, 2023.\u003c/em>\u003c/p>\n\n",
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"title": "‘Every Body’ Review: A Brilliant New LGBTQIA Documentary | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Certain documentaries have stuck with me. Especially those about people who’ve survived physical violations only to suffer mental and emotional violations in their fight for justice. I’m thinking of 2012’s \u003cem>The Invisible War\u003c/em>, about the handling of sexual assaults in the military, and 2015’s \u003cem>The Hunting Ground\u003c/em>, about survivors of on-campus sexual assault. Both left me with a burning pit in my stomach long after the credits rolled.\u003c/p>\n\u003cp>I was reminded of that sensation while watching the brand new documentary, \u003cem>Every Body\u003c/em>. At times, particularly towards its end, the new film — all about the ‘I’ in LGBTQIA — leans hard into themes of hope and optimism. But \u003cem>Every Body\u003c/em>’s core does such a good job of explaining the litany of wrongs historically done to American intersex people that a deep sense of injustice is hard to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13930826\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/every_body.jpg\" alt=\"\" width=\"510\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body-160x237.jpg 160w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Every Body’ documents — and celebrates — the lives of three intersex people.\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of \u003cem>Every Body\u003c/em> (directed by Julie Cohen, who was also responsible for 2018’s excellent \u003ca href=\"https://www.imdb.com/title/tt7689964/?ref_=nv_sr_srsg_0_tt_5_nm_3_q_RBG\">\u003cem>RBG\u003c/em>\u003c/a>) are three enormously charismatic and likable intersex folks. There’s Sean Saifa Wall (he/him) who was born with an ambiguous gender, but surgically forced into a female-appearing body in infancy. It was a decision made by doctors to, according to medical notes, “protect [Wall’s] parents’ emotional wellbeing.” Wall is clear here that he felt like a male from day one and has been living with the consequences of that early medical intervention ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s Alicia Roth Weigel (she/they) who was born with XY chromosomes, but always outwardly presented as female. Alicia was born with internal testes instead of a uterus, but grew up being told to keep it a secret from everyone in her life, including her own brother. (At one point here, she admits to carrying tampons in her purse during her teens in order to avoid scrutiny about her lack of a period.) Weigel first came out publicly in 2017 when \u003ca href=\"https://www.youtube.com/watch?v=ZFjpr9DnAR4\">she testified before the Texas Congress\u003c/a>, arguing against the state’s \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\">controversial bathroom bill\u003c/a>, which was ultimately struck down.\u003c/p>\n\u003cp>Finally, there’s River Gallo (they/them), who was raised as a boy — and is still misgendered by their own mother — despite being born without testes. Gallo was given prosthetic testicles in their teens and had almost no say in their medical treatment whatsoever. (Gallo also received zero professional psychological support at the time.) Despite a somewhat confusing upbringing, Gallo has since learned to fully embrace their intersex qualities. And they are all the more radiant for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SoNvk5N-MKo'\n title='//www.youtube.com/embed/SoNvk5N-MKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wall, Weigel and Gallo’s individual stories are compelling and intimately told in a way that, even if \u003cem>Every Body\u003c/em> had only focused on the trio, it would still have been an essential portrait of intersex lives and realities. Where the film goes above and beyond, however, is in how it explains the history and rationale of the medical professionals who, for so long, forced unnecessary surgical procedures on intersex infants and youth. One gets the distinct impression that these monumental decisions — attempting to force intersex children into the gender binary — were often made casually and, in many cases, without much parental input. One also gets the unsettling feeling that they are probably still happening in more places than they should be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Every Body\u003c/em> traces the roots of these damaging practices back to a psychologist named John Money, who argued that gender identity could be fashioned externally and via social constructs, and was not in fact, self-directed. Money’s treatment of one particular patient in the 1970s, David Reimer, can only be described as an unmitigated, gut-wrenching disaster. Reimer’s story may be agonizing to watch now, but it contains essential lessons around the importance of allowing individuals — all individuals — to self-identify their own genders.\u003c/p>\n\u003cp>One is struck at the end of these engrossing 92 minutes just how misunderstood intersex people remain in 2023, and how much their stories — searing and impactful though they are — have been neglected thus far. \u003cem>Every Body\u003c/em> very effectively seeks to rectify that. Once you watch it, you’ll never forget the ‘I’ in LGBTQI ever again.\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>‘\u003ca href=\"https://www.focusfeatures.com/every-body/\">Every Body\u003c/a>’ opens in Bay Area theaters on June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On April 28, 1945, footage was taken of 2,000 female concentration camp survivors gathered at the harbor in Malmö, Sweden. Many appear remarkably relaxed, smiling and waving for the camera as it pans past them on the crowded dock. Outside of the excited mass, the camera captures more pensive faces — women whose trauma is etched on their brows, their faces worn from the horrors they’ve experienced. Among them stands a stoic Asian woman, still dressed in her striped concentration camp coat, her face an enigmatic blank.\u003c/p>\n\u003cp>When documentary filmmaker Magnus Gertten saw the footage of that day, he knew he wanted to find out more about as many of the women as he could. Particularly, he was desperate to find out about the mysterious woman in the striped coat. What or who was she thinking about when the camera caught her immovable gaze? Where did she end up? And did she ever find a happy ending?\u003c/p>\n\u003cfigure id=\"attachment_13929953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Nadine-800x524.png\" alt=\"An Asian woman wearing a thick striped coat and whit neck scarf knotted at her neck, stares blankly forward, her hair disheveled. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1920x1257.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine.png 1964w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Hwang, shortly after she was liberated from Ravensbrück, the largest concentration camp for women in Germany. \u003ccite>(‘Nelly & Nadine’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New documentary \u003cem>Nelly & Nadine\u003c/em> answers all of those questions over the course of its engrossing 90 minutes. The woman in the archival footage was named Nadine Hwang. The daughter of the Chinese ambassador to Spain, Hwang had lived proudly as a lesbian long before the war, moving in prestigious bohemian and literary circles. While incarcerated at the Ravensbrück concentration camp, she met and fell in love with a singer named Claire “Nelly” Mousset-Vos. Their relationship ultimately helped them both endure the atrocities of World War II; their deep love a powerful catalyst for survival. But standing on the dock that day, Hwang had no idea if the love of her life was even still alive, or if she would ever see her again.\u003c/p>\n\u003cp>The couple’s story, both during and after the war, is told in \u003cem>Nelly & Nadine\u003c/em> via what they so painstakingly left behind: Super 8 home movies, personal correspondence, Hwang’s extensive photo and letter collection and, most importantly, Mousset-Vos’ vivid and heart-wrenching diaries. For decades, Hwang and Mousset-Vos’ personal effects sat in a steel box in the home of the latter’s granddaughter, Sylvie Bianchi — a woman who found herself so heartbroken by its contents, she long refused to read them in any depth. Bianchi’s decision to finally do so is at the center of \u003cem>Nelly & Nadine\u003c/em>. It is her grandmother’s relationship, however, that becomes the film’s heart.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6cVi0gwobeg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most impactful parts of \u003cem>Nelly & Nadine\u003c/em> can be attributed to excerpts from Mousset-Vos’ extraordinary wartime diaries. Alive with vivid detail, her writings transport the viewer to every sight, smell and anxiety of living in hell on Earth. She is blunt and unflinching when it comes to conveying the true torments of concentration camp incarceration. The directness of her writing is often devastating in its simplicity. “17 women are dead,” she writes at the end of a hellish five-day train journey. “And a baby was born.”\u003c/p>\n\u003cp>At one point, after being transferred from Ravensbrück, Mousset-Vos describes her new location thusly:\u003c/p>\n\u003cblockquote>\u003cp>At the top, crowning the mountain, lies the camp. Mauthausen, the antechamber of hell. We climb down a giant 186-step staircase carved into the rock. It’s the quarry. Our tomb. The air smells of typhus and corpses. You have to fight for a morsel of moldy bread, a sip of water, a place to sleep. A woman lets out a long cry of agony that sounds like a cry of pleasure. How to find the courage to survive?\u003c/p>\u003c/blockquote>\n\u003cp>Mousset-Vos’ writings make plain how the love of Hwang helped her to endure the unimaginable. She wrote of briefly snatched moments of joy when the pair could share measly bread rations and deep conversations. “I find myself looking out for her black hair beneath white scarf,” Mousset-Vos wrote shortly after meeting Hwang, “and her eyes that light up when they see me.”\u003c/p>\n\u003cp>At the end of the war, having both somehow made it out alive, the two corresponded by postcard and letter for a few years before they could be reunited. Once they were, they built a life together in Venezuela — a location chosen to help them erase their memories of the war. Old friends are interviewed in \u003cem>Nelly & Nadine\u003c/em> about the life Hwang and Mousset-Vos shared there, a life well lived and thoroughly enjoyed. It is clear that the couple gave each other — and their friends — permission to live any way they pleased. After what they endured in the war, there was simply no other way to move forward.\u003c/p>\n\u003cp>\u003cem>Nelly & Nadine\u003c/em> is a layered story, richly told. Yes, it offers a new telling of the war from the perspective of a supremely talented writer. And, yes, it speaks to family lineage and the legacies we leave behind. It is about the importance of finding cracks of light in relentless darkness. But above all else, it is a story of magnificent, beautiful LGBTQ love; love that was life-saving first and life-affirming later; love that was embraced and nurtured and valued above all else. And while some of the details in it have the power to devastate, the hope in \u003cem>Nelly & Nadine\u003c/em> shines brighter than everything else. Something that very much reflects the relationship it’s about.\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>‘Nellie & Nadine’ begins streaming on June 6, 2023, and is available via Apple TV, Amazon Prime Video, Vudu and Wolfe On Demand.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most impactful parts of \u003cem>Nelly & Nadine\u003c/em> can be attributed to excerpts from Mousset-Vos’ extraordinary wartime diaries. Alive with vivid detail, her writings transport the viewer to every sight, smell and anxiety of living in hell on Earth. She is blunt and unflinching when it comes to conveying the true torments of concentration camp incarceration. The directness of her writing is often devastating in its simplicity. “17 women are dead,” she writes at the end of a hellish five-day train journey. “And a baby was born.”\u003c/p>\n\u003cp>At one point, after being transferred from Ravensbrück, Mousset-Vos describes her new location thusly:\u003c/p>\n\u003cblockquote>\u003cp>At the top, crowning the mountain, lies the camp. Mauthausen, the antechamber of hell. We climb down a giant 186-step staircase carved into the rock. It’s the quarry. Our tomb. The air smells of typhus and corpses. You have to fight for a morsel of moldy bread, a sip of water, a place to sleep. A woman lets out a long cry of agony that sounds like a cry of pleasure. How to find the courage to survive?\u003c/p>\u003c/blockquote>\n\u003cp>Mousset-Vos’ writings make plain how the love of Hwang helped her to endure the unimaginable. She wrote of briefly snatched moments of joy when the pair could share measly bread rations and deep conversations. “I find myself looking out for her black hair beneath white scarf,” Mousset-Vos wrote shortly after meeting Hwang, “and her eyes that light up when they see me.”\u003c/p>\n\u003cp>At the end of the war, having both somehow made it out alive, the two corresponded by postcard and letter for a few years before they could be reunited. Once they were, they built a life together in Venezuela — a location chosen to help them erase their memories of the war. Old friends are interviewed in \u003cem>Nelly & Nadine\u003c/em> about the life Hwang and Mousset-Vos shared there, a life well lived and thoroughly enjoyed. It is clear that the couple gave each other — and their friends — permission to live any way they pleased. After what they endured in the war, there was simply no other way to move forward.\u003c/p>\n\u003cp>\u003cem>Nelly & Nadine\u003c/em> is a layered story, richly told. Yes, it offers a new telling of the war from the perspective of a supremely talented writer. And, yes, it speaks to family lineage and the legacies we leave behind. It is about the importance of finding cracks of light in relentless darkness. But above all else, it is a story of magnificent, beautiful LGBTQ love; love that was life-saving first and life-affirming later; love that was embraced and nurtured and valued above all else. And while some of the details in it have the power to devastate, the hope in \u003cem>Nelly & Nadine\u003c/em> shines brighter than everything else. Something that very much reflects the relationship it’s about.\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>‘Nellie & Nadine’ begins streaming on June 6, 2023, and is available via Apple TV, Amazon Prime Video, Vudu and Wolfe On Demand.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Love to Love You, Donna Summer' Documents the Disco Queen — But at a Distance",
"headTitle": "‘Love to Love You, Donna Summer’ Documents the Disco Queen — But at a Distance | KQED",
"content": "\u003cp>This may sound odd now, but when Donna Summer first hit America’s pop music charts in 1975, it was a steamy, scandalous moment.\u003c/p>\n\u003cp>Her first hit, “Love to Love You Baby,” featured Summer making noises of pleasure which sounded seriously sexual, inspiring the BBC to initially \u003ca href=\"https://www.telegraph.co.uk/music/what-to-listen-to/30-songs-banned-by-the-bbc/\">refuse to play the record \u003c/a>and interviewers to ask what exactly she was doing while tracking the vocals.\u003c/p>\n\u003cp>But as Summer explains in a clip from HBO’s documentary \u003cem>Love to Love You, Donna Summer\u003c/em>, the singer was not actually a sultry, sexy seductress.\u003c/p>\n\u003cp>“It wasn’t me, it was something I was playing,” she says. “It was a role. Everyone that knew me would call me up and say, ‘That’s not you, [moaning on the record] is it?’ Yeah, it’s me.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xQXInltKe8E\u003c/p>\n\u003ch3>A secretive artist\u003c/h3>\n\u003cp>Unfortunately, HBO’s film struggles to define who Summer actually was, despite knitting together interviews with family members, archival clips and home movie footage — all guided, in part, by her daughter Brooklyn Sudano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sudano co-directed the film with Oscar- and Emmy-winning documentarian Roger Ross Williams, searching for meaning in her mother’s story. The movie notes even Summer’s children sometimes found her tough to know — including one scene in which Sudano’s sister, Amanda Ramirez, talks about how secretive their mother could be.\u003c/p>\n\u003cp>“We were never allowed in her room; the door was always locked,” Ramirez says. “We would find out things by reading newspaper articles … I actually remember the first time that we heard ‘Love to Love You.’ Didn’t even know it existed. Brooklyn came in the room and was like, ‘Have I got a song for you to hear!'”\u003c/p>\n\u003cfigure id=\"attachment_13929374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe\" alt=\"A beautiful light-skinned Black womam with long curly hair faces forward. She is wearing a red shirt.\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-1020x768.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-768x578.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6.jpe 1142w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer’s daughter, Brooklyn Sudano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing the film does make clear: Summer’s towering abilities as a singer, performer and songwriter. It shows how she suggested the title for “Love to Love You”; was inspired by an exhausted restroom attendant to write “She Works Hard for the Money”; and co-wrote the percolating synthesizer riff which powers her 1977 hit “I Feel Love” with disco-producing legend Giorgio Moroder.\u003c/p>\n\u003cp>[aside postid='trulyca_3474']Elton John spoke about that song’s impact in a clip used by the film. “I remember when ‘I Feel Love’ came on at Studio 54,” he says. “You just stopped in your tracks. What is this? It sounded like no other record.”\u003c/p>\n\u003cp>Summer says they were going for a specific vibe in the studio. “When I went in to do it I had the sense that I was floating. And that’s what … we wanted to maintain, that floaty kind of — that elation that you feel when you’re in love.”\u003c/p>\n\u003cfigure id=\"attachment_13929375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg\" alt=\"A Black woman and white bearded man sit behind the mixing desk of a recording studio. The walls are wood paneled. \" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer in the studio with disco-producing legend Giorgio Moroder. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born LaDonna Adrian Gaines and raised in Boston, Summer grew up singing in church. Later, she moved to Germany for a production of the musical \u003cem>Hair\u003c/em> and began making records. The film offers lots of performance footage and behind-the-scenes clips, recounting her fights with her record company, abusive lovers and the struggle to be recognized as more than just a disco queen.\u003c/p>\n\u003cp>[aside postid='trulyca_3323']But perhaps because Summer held back from her family, the film rarely digs deeply into any aspect of her life before moving on. This is especially noticeable when Sudano asks her uncle Ric Gaines about allegations Summer was molested by a church pastor.\u003c/p>\n\u003cp>“It became a defining moment in her life,” Gaines says. “It’s not easy when you don’t tell or [don’t] have the ability to tell people.” But it’s tough to see exactly how this incident defined her life, or at least why her brother believed it did.\u003c/p>\n\u003cfigure id=\"attachment_13929376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg\" alt=\"A Black womam sits at a piano, hands on keys, looking sullen.\" width=\"800\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1269x1536.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0.jpg 1332w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer at her piano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A structure that feeds confusion\u003c/h3>\n\u003cp>The film’s structure doesn’t help. Subjects speaking about Summer’s life are often not shown talking on camera, so it’s difficult to know if you’re hearing an archival interview or something recorded for the film. And Sudano doesn’t reveal much about how she pulled the movie together, making it hard to judge why some elements are used the way they are.\u003c/p>\n\u003cp>[aside postid='trulyca_3390']Even Summer’s death in 2012 from lung cancer is handled obliquely, with fleeting glimpses of what she went through. Such pivotal moments deserve a bit more detail; without them, the audience remains at a distance.\u003c/p>\n\u003cp>For those who only know Summer through hits like “She Works Hard for the Money” and “Last Dance,” HBO’s film offers important context about her talent and lots of great performance footage. But like the artist herself, the film can also be maddeningly enigmatic, just when you want to know more.\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=%27Love+to+You%2C+Donna+Summer%27+documents+the+disco+queen+%E2%80%94+but+at+a+distance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>‘Love to Love You, Donna Summer’ premieres on HBO on May 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This may sound odd now, but when Donna Summer first hit America’s pop music charts in 1975, it was a steamy, scandalous moment.\u003c/p>\n\u003cp>Her first hit, “Love to Love You Baby,” featured Summer making noises of pleasure which sounded seriously sexual, inspiring the BBC to initially \u003ca href=\"https://www.telegraph.co.uk/music/what-to-listen-to/30-songs-banned-by-the-bbc/\">refuse to play the record \u003c/a>and interviewers to ask what exactly she was doing while tracking the vocals.\u003c/p>\n\u003cp>But as Summer explains in a clip from HBO’s documentary \u003cem>Love to Love You, Donna Summer\u003c/em>, the singer was not actually a sultry, sexy seductress.\u003c/p>\n\u003cp>“It wasn’t me, it was something I was playing,” she says. “It was a role. Everyone that knew me would call me up and say, ‘That’s not you, [moaning on the record] is it?’ Yeah, it’s me.”\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/xQXInltKe8E'\n title='//www.youtube.com/embed/xQXInltKe8E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A secretive artist\u003c/h3>\n\u003cp>Unfortunately, HBO’s film struggles to define who Summer actually was, despite knitting together interviews with family members, archival clips and home movie footage — all guided, in part, by her daughter Brooklyn Sudano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sudano co-directed the film with Oscar- and Emmy-winning documentarian Roger Ross Williams, searching for meaning in her mother’s story. The movie notes even Summer’s children sometimes found her tough to know — including one scene in which Sudano’s sister, Amanda Ramirez, talks about how secretive their mother could be.\u003c/p>\n\u003cp>“We were never allowed in her room; the door was always locked,” Ramirez says. “We would find out things by reading newspaper articles … I actually remember the first time that we heard ‘Love to Love You.’ Didn’t even know it existed. Brooklyn came in the room and was like, ‘Have I got a song for you to hear!'”\u003c/p>\n\u003cfigure id=\"attachment_13929374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe\" alt=\"A beautiful light-skinned Black womam with long curly hair faces forward. She is wearing a red shirt.\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-800x602.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-1020x768.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6-768x578.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/brooklyn-sudano_custom-ad3232b6b888181b37cf5017567e591ba28b7bb6.jpe 1142w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer’s daughter, Brooklyn Sudano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing the film does make clear: Summer’s towering abilities as a singer, performer and songwriter. It shows how she suggested the title for “Love to Love You”; was inspired by an exhausted restroom attendant to write “She Works Hard for the Money”; and co-wrote the percolating synthesizer riff which powers her 1977 hit “I Feel Love” with disco-producing legend Giorgio Moroder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elton John spoke about that song’s impact in a clip used by the film. “I remember when ‘I Feel Love’ came on at Studio 54,” he says. “You just stopped in your tracks. What is this? It sounded like no other record.”\u003c/p>\n\u003cp>Summer says they were going for a specific vibe in the studio. “When I went in to do it I had the sense that I was floating. And that’s what … we wanted to maintain, that floaty kind of — that elation that you feel when you’re in love.”\u003c/p>\n\u003cfigure id=\"attachment_13929375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg\" alt=\"A Black woman and white bearded man sit behind the mixing desk of a recording studio. The walls are wood paneled. \" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer-and-giorgio-moroder_custom-1d86d1a633efa8a88c37a4f5cbd9770f9db457e5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer in the studio with disco-producing legend Giorgio Moroder. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born LaDonna Adrian Gaines and raised in Boston, Summer grew up singing in church. Later, she moved to Germany for a production of the musical \u003cem>Hair\u003c/em> and began making records. The film offers lots of performance footage and behind-the-scenes clips, recounting her fights with her record company, abusive lovers and the struggle to be recognized as more than just a disco queen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But perhaps because Summer held back from her family, the film rarely digs deeply into any aspect of her life before moving on. This is especially noticeable when Sudano asks her uncle Ric Gaines about allegations Summer was molested by a church pastor.\u003c/p>\n\u003cp>“It became a defining moment in her life,” Gaines says. “It’s not easy when you don’t tell or [don’t] have the ability to tell people.” But it’s tough to see exactly how this incident defined her life, or at least why her brother believed it did.\u003c/p>\n\u003cfigure id=\"attachment_13929376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg\" alt=\"A Black womam sits at a piano, hands on keys, looking sullen.\" width=\"800\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0-1269x1536.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/donna-summer_0_custom-302e00d88ff1ce32e70fcccb6058875fe14e04d0.jpg 1332w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Summer at her piano. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A structure that feeds confusion\u003c/h3>\n\u003cp>The film’s structure doesn’t help. Subjects speaking about Summer’s life are often not shown talking on camera, so it’s difficult to know if you’re hearing an archival interview or something recorded for the film. And Sudano doesn’t reveal much about how she pulled the movie together, making it hard to judge why some elements are used the way they are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even Summer’s death in 2012 from lung cancer is handled obliquely, with fleeting glimpses of what she went through. Such pivotal moments deserve a bit more detail; without them, the audience remains at a distance.\u003c/p>\n\u003cp>For those who only know Summer through hits like “She Works Hard for the Money” and “Last Dance,” HBO’s film offers important context about her talent and lots of great performance footage. But like the artist herself, the film can also be maddeningly enigmatic, just when you want to know more.\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=%27Love+to+You%2C+Donna+Summer%27+documents+the+disco+queen+%E2%80%94+but+at+a+distance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>‘Love to Love You, Donna Summer’ premieres on HBO on May 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been almost 20 years since Judy Irving’s \u003cem>The Wild Parrots of Telegraph Hill \u003c/em>made her something of a local folk hero. OK, the real folk hero who emerged from the documentary was Mark Bittner, the endearing, erstwhile Telegraph Hill philosopher who befriended the parrots. But what’s a star without a director?\u003c/p>\n\u003cp>Irving reclaimed the spotlight last month when the winged wildlife she made internationally famous topped the \u003ca href=\"https://www.sfchronicle.com/projects/2023/sf-official-animal-vote/\">\u003cem>Chronicle\u003c/em> contest to choose San Francisco’s official animal\u003c/a>. \u003cem>The Washington Post\u003c/em> quoted the filmmaker extensively in a lengthy article, and the Board of Supervisors scheduled a vote to turn the \u003cem>Chron\u003c/em>’s online tally into an official proclamation. (Cue the unofficial song of San Francisco, “\u003ca href=\"https://www.youtube.com/watch?v=1Cin0QzuEss\">White Bird\u003c/a>,” except the color scheme doesn’t match.)[aside postID='arts_10144277']\u003c/p>\n\u003cp>Irving and Bittner fell in love and married in the course of making what became one of the top-grossing docs of 2005. Following in the wake of \u003cem>Pelican Dreams\u003c/em> (2014), which circles outward from the rescue of an off-course bird that tied up traffic on the Golden Gate Bridge, Irving has a new film that solidifies her standing as the Bay Area’s preeminent environmental filmmaker.\u003c/p>\n\u003cp>\u003cem>Cold Refuge\u003c/em> (receiving its world premiere Sunday, April 16 at Cowell Theater in Fort Mason in the \u003ca href=\"https://intloceanfilmfest.org/2023-film-schedule\">International Ocean Film Festival\u003c/a>) recounts the journeys of half a dozen local swimmers to the open waters of San Francisco Bay. Friends of the filmmaker from the South End Rowing Club, where Irving has been a member since 1989, each hurdled a potentially debilitating event via immersing themselves in the quintessential postcard shot.\u003c/p>\n\u003cfigure id=\"attachment_13927806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png\" alt=\"a man with brown skin stands with his shirt off and hands clasped in a yellow swim cap and goggles\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1536x1139.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1920x1424.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Naji Ali, a member of the South End Rowing Club, contemplates the water. \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you go in, you have to be completely focused on what you’re doing,” Irving says, leaning forward in a chair in her North Beach office. “There’s no multi-tasking. You’re paying attention to the tides and the currents and the waves and the wind and you are looking around to see if there are predators, or other swimmers or boats that might knock into you.”\u003c/p>\n\u003cp>Irving swam long distances in the Bay three or four times a week in the 1990s, including not-infrequent forays from the Bay Bridge to the club and around Alcatraz and back. She continues to swim in and around Aquatic Park, albeit less often, and \u003cem>Cold Refuge\u003c/em> combines that insider’s understanding with a birds-eye view of the landscape as well as the static perspective of someone sittin’ on the dock of the Bay watching the tide roll away.\u003c/p>\n\u003cp>The pleasure of watching \u003cem>Cold Refuge \u003c/em>— which provides a collage of inspiring characters, an irresistible bowl of eye candy for jaded locals and a timeless tribute to the revitalizing power of nature — consists of floating from vicarious observer of other folks’ shivery activities to experiencing their triumph and head-clearing submersion alongside them.\u003c/p>\n\u003cp>The cast includes cancer survivor and artist Zina Deretsky as well as Dr. Myles Cope, who was paralyzed from the waist down in a trench accident at 24. Nearly blind and deaf software engineer Corvin Bazgan swims tethered to a guide, while stressed-out employee benefits attorney Lisa Serebin serves as a stand-in for the overcommitted high achievers drowning (metaphorically) in details.\u003c/p>\n\u003cfigure id=\"attachment_13927801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13927801 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg\" alt=\"a man in a red shirt sits in a wheelchair with his back to the camera looking out at the bay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Myles Cope in a still from ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving appears briefly in \u003cem>Cold Refuge\u003c/em>, offscreen, to introduce each swimmer, and delivers a few choice observations at the end. Yet she’s fully present throughout, every frame dripping with her deep connection to her subjects. At the beginning of her career, she hired people to narrate her traditional short documentaries about Bay Area open space and wildlife.\u003c/p>\n\u003cp>The turning point was \u003cem>Dark Circle\u003c/em> (1982), the Emmy-winning exposé she made with Christopher Beaver and Ruth Landy about the links between nuclear power and nuclear weapons. Irving wanted Ellen Burstyn to narrate, but the actress watched the cut and said, “You’re nuts. You have to narrate this thing.”\u003c/p>\n\u003cp>Next time around, Irving felt comfortable including herself in \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>. “I ask pointed questions of Mark, off-screen, like, ‘Why don’t you get a job?’ and ‘Why don’t you cut your hair?’ And then we got together at the end.”\u003c/p>\n\u003cp>Irving’s docs serve as personal expressions in another way: she subconsciously put her late grandfather’s passions in three of them. The filmmaker grew up in New Jersey and spent summers with her family on the north fork of Long Island at her grandparents’ house. “He was so important to my young life as a budding birder,” Irving recalls.\u003c/p>\n\u003cfigure id=\"attachment_13927803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg\" alt=\"a harbor seal is seen poking its face out of blue water, following a swimmer in goggles and a swim cap \" width=\"800\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-2048x978.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1920x917.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A curious seal follows a swimmer in ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving’s four features, consequently, play like personal films, even though she isn’t the protagonist. It’s a delicate balance that doesn’t feel self-indulgent; to the contrary, her emotional investment in each story raises the stakes.\u003c/p>\n\u003cp>Irving came west in 1970 after working in Montreal trying to make a living as a freelance writer of magazine articles. She hitchhiked across the country and lived on the Queen Charlotte Islands in British Columbia in a hut on a raft for a bit before applying to Stanford’s master’s program in documentary. Irving notes that she made her thesis film in 1973, and this year marks her 50th anniversary behind the camera and the editing table.\u003c/p>\n\u003cp>While Irving has adapted and adjusted to the dramatic changes in technology across the decades, her values haven’t shifted. Nor has her ability to laugh at her quirks.\u003c/p>\n\u003cp>“I am one of the few people left in the world, probably, who does not have a cell phone,” Irving says. “I do not want a cell phone. I don’t want to spend my life looking at a screen, especially a small screen. The irony is that I make movies and people watch them on screens. So they’re watching a mediated experience that I’ve made for them. And I’m sorry about that,” Irving says, laughing, “but I’m a filmmaker.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘Cold Refuge’ premieres at 10 a.m. on Sunday, April 16 at the Fort Mason Center’s Cowell Theater (2 Marina Blvd., San Francisco) as part of the International Ocean Film Festival. \u003ca href=\"https://intloceanfilmfest.org/\">More info and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Irving and Bittner fell in love and married in the course of making what became one of the top-grossing docs of 2005. Following in the wake of \u003cem>Pelican Dreams\u003c/em> (2014), which circles outward from the rescue of an off-course bird that tied up traffic on the Golden Gate Bridge, Irving has a new film that solidifies her standing as the Bay Area’s preeminent environmental filmmaker.\u003c/p>\n\u003cp>\u003cem>Cold Refuge\u003c/em> (receiving its world premiere Sunday, April 16 at Cowell Theater in Fort Mason in the \u003ca href=\"https://intloceanfilmfest.org/2023-film-schedule\">International Ocean Film Festival\u003c/a>) recounts the journeys of half a dozen local swimmers to the open waters of San Francisco Bay. Friends of the filmmaker from the South End Rowing Club, where Irving has been a member since 1989, each hurdled a potentially debilitating event via immersing themselves in the quintessential postcard shot.\u003c/p>\n\u003cfigure id=\"attachment_13927806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png\" alt=\"a man with brown skin stands with his shirt off and hands clasped in a yellow swim cap and goggles\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1536x1139.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1920x1424.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Naji Ali, a member of the South End Rowing Club, contemplates the water. \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you go in, you have to be completely focused on what you’re doing,” Irving says, leaning forward in a chair in her North Beach office. “There’s no multi-tasking. You’re paying attention to the tides and the currents and the waves and the wind and you are looking around to see if there are predators, or other swimmers or boats that might knock into you.”\u003c/p>\n\u003cp>Irving swam long distances in the Bay three or four times a week in the 1990s, including not-infrequent forays from the Bay Bridge to the club and around Alcatraz and back. She continues to swim in and around Aquatic Park, albeit less often, and \u003cem>Cold Refuge\u003c/em> combines that insider’s understanding with a birds-eye view of the landscape as well as the static perspective of someone sittin’ on the dock of the Bay watching the tide roll away.\u003c/p>\n\u003cp>The pleasure of watching \u003cem>Cold Refuge \u003c/em>— which provides a collage of inspiring characters, an irresistible bowl of eye candy for jaded locals and a timeless tribute to the revitalizing power of nature — consists of floating from vicarious observer of other folks’ shivery activities to experiencing their triumph and head-clearing submersion alongside them.\u003c/p>\n\u003cp>The cast includes cancer survivor and artist Zina Deretsky as well as Dr. Myles Cope, who was paralyzed from the waist down in a trench accident at 24. Nearly blind and deaf software engineer Corvin Bazgan swims tethered to a guide, while stressed-out employee benefits attorney Lisa Serebin serves as a stand-in for the overcommitted high achievers drowning (metaphorically) in details.\u003c/p>\n\u003cfigure id=\"attachment_13927801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13927801 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg\" alt=\"a man in a red shirt sits in a wheelchair with his back to the camera looking out at the bay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Myles Cope in a still from ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving appears briefly in \u003cem>Cold Refuge\u003c/em>, offscreen, to introduce each swimmer, and delivers a few choice observations at the end. Yet she’s fully present throughout, every frame dripping with her deep connection to her subjects. At the beginning of her career, she hired people to narrate her traditional short documentaries about Bay Area open space and wildlife.\u003c/p>\n\u003cp>The turning point was \u003cem>Dark Circle\u003c/em> (1982), the Emmy-winning exposé she made with Christopher Beaver and Ruth Landy about the links between nuclear power and nuclear weapons. Irving wanted Ellen Burstyn to narrate, but the actress watched the cut and said, “You’re nuts. You have to narrate this thing.”\u003c/p>\n\u003cp>Next time around, Irving felt comfortable including herself in \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>. “I ask pointed questions of Mark, off-screen, like, ‘Why don’t you get a job?’ and ‘Why don’t you cut your hair?’ And then we got together at the end.”\u003c/p>\n\u003cp>Irving’s docs serve as personal expressions in another way: she subconsciously put her late grandfather’s passions in three of them. The filmmaker grew up in New Jersey and spent summers with her family on the north fork of Long Island at her grandparents’ house. “He was so important to my young life as a budding birder,” Irving recalls.\u003c/p>\n\u003cfigure id=\"attachment_13927803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg\" alt=\"a harbor seal is seen poking its face out of blue water, following a swimmer in goggles and a swim cap \" width=\"800\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-2048x978.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1920x917.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A curious seal follows a swimmer in ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving’s four features, consequently, play like personal films, even though she isn’t the protagonist. It’s a delicate balance that doesn’t feel self-indulgent; to the contrary, her emotional investment in each story raises the stakes.\u003c/p>\n\u003cp>Irving came west in 1970 after working in Montreal trying to make a living as a freelance writer of magazine articles. She hitchhiked across the country and lived on the Queen Charlotte Islands in British Columbia in a hut on a raft for a bit before applying to Stanford’s master’s program in documentary. Irving notes that she made her thesis film in 1973, and this year marks her 50th anniversary behind the camera and the editing table.\u003c/p>\n\u003cp>While Irving has adapted and adjusted to the dramatic changes in technology across the decades, her values haven’t shifted. Nor has her ability to laugh at her quirks.\u003c/p>\n\u003cp>“I am one of the few people left in the world, probably, who does not have a cell phone,” Irving says. “I do not want a cell phone. I don’t want to spend my life looking at a screen, especially a small screen. The irony is that I make movies and people watch them on screens. So they’re watching a mediated experience that I’ve made for them. And I’m sorry about that,” Irving says, laughing, “but I’m a filmmaker.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘Cold Refuge’ premieres at 10 a.m. on Sunday, April 16 at the Fort Mason Center’s Cowell Theater (2 Marina Blvd., San Francisco) as part of the International Ocean Film Festival. \u003ca href=\"https://intloceanfilmfest.org/\">More info and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary",
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"headTitle": "Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary | KQED",
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"content": "\u003cp>There are countless ways to talk about \u003ca href=\"https://www.kqed.org/arts/13914916/stephen-curry-chef-warriors-game-6-nba-finals-2022\">Golden State Warriors megastar, Stephen Wardell Curry\u003c/a>. Champion. “\u003ca href=\"https://www.davidson.edu/news/2022/12/01/home-team-stephen-curry-10-improbable-journey-began-davidson\">Improbable\u003c/a>.” Future Hall of Famer. “\u003ca href=\"https://www.nbcsports.com/bayarea/warriors/ridiculous-steph-curry-slingshot-pass-resulted-perfect-steve-kerr-reaction\">Absurd\u003c/a>.” Humble. “\u003ca href=\"https://www.youtube.com/watch?v=joxzF51REAE\">So inspirational\u003c/a>.” Father. No singular descriptor can capture \u003ca href=\"https://www.youtube.com/watch?v=flm-cZ7r6eE\">the Three-Point God\u003c/a> in all of his matrix-bending dimensionality, but perhaps one word comes close: underrated.\u003c/p>\n\u003cp>But how can the best shooter in basketball’s history — who boasts one of the sport’s best resumes as a two-time league MVP, four-time NBA champion, eight-time All-NBAer and nine-time All-Star, who has definitively splashed the most three-point field goals of all-time — be undervalued, even underappreciated? It’s a question that Bay Area filmmaker, Peter Nicks, set out to investigate with his latest documentary, \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated-2/\">\u003ci>Stephen Curry: Underrated\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13926757']Premiering April 13, on the opening night at the \u003ca href=\"https://www.kqed.org/arts/13926757/2023-sffilm-festival-bay-area-guide\">2023 SFFILM Festival\u003c/a>, the visual biography takes viewers on an intimate ride-along from the early moments of Curry’s high school days to the present — hot off a triumphant 2022 NBA Finals run. The film presents a story of redemption and endurance, sacrifice and celebration, disappointment and euphoria. At its core, it’s the most human depiction you’ll likely ever get of the global phenomenon.\u003c/p>\n\u003cp>Basketball isn’t at the forefront of this film: a messy, perseverant human life is. There are scenes of Curry doing homework after NBA practice to earn his college degree. There are moments with his three children that teeter between frustration and playfulness. And there are flashbacks — lots of flashbacks — to his years as a scrawny, unknown, often-dismissed teenager who went unrecruited by the nation’s top basketball programs and settled for the only option he had: Davidson College, a small liberal arts school in suburban North Carolina with zero basketball notoriety. It was a program he would drastically transform.\u003c/p>\n\u003cp>Despite his herculean achievements, Curry has remained largely “underrated.” He’s never embodied the desired stature or cocky attitude of a dominant athlete. It’s fitting, then, that Nicks — a Bay Area storyteller who has been documenting Oakland’s institutions for the past decade — would be the perfect person to share Curry’s inspiring story with a national audience. Nicks sat down with KQED to talk about his own journey to becoming a filmmaker and the process of creating \u003ci>Underrated\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13927574\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg\" alt=\"Four men stand smiling in front of Sunday step-and-repeat\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Producer Ryan Coogler, director Peter Nicks, Stephen Curry, and producer Erick Peyton at the 2023 Sundance Film Festival for the premiere of ‘Stephen Curry: Underrated.’ \u003ccite>(Photo by Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: How did your sports fandom influence or inform your approach to this film? Did you grow up rooting for the Warriors?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Peter Nicks:\u003c/b> I grew up a hardcore sports fan from Boston. The \u003ca href=\"https://www.youtube.com/watch?v=pVQUel1Ssq8\">“We Believe” team\u003c/a> was the first time I kinda got shaken out of my complacency and started to pay closer attention [to the Warriors]. The Bay Area in the 2000s was just an incredibly exciting place to be a sports fan.\u003c/p>\n\u003cp>I wasn’t making sports documentaries; I was making films about a community facing challenges — education, criminal justice, healthcare. I noticed that Bay sports arenas were filled with wildly diverse groups of people from all walks of life. I always fantasized making a film about the A’s that celebrated the Bay and the community and how people can come together — like church. Sporting events are a time when people come together for a common purpose. To capture that in film was something I wanted to do.\u003c/p>\n\u003cp>\u003cb>When did the actual recording and interviews happen? What were you most interested in capturing during those moments?\u003c/b>\u003c/p>\n\u003cp>It was several months prior to last year’s season. I met with Steph and explained to him my philosophy of storytelling, which involves observation without filming: hanging out and understanding the ecosystem. If it’s an institution, I spend time with doctors, nurses, patients. In this case, it was with Steph and his family. In a way, he has become his own Bay Area institution, a superstar.\u003c/p>\n\u003cp>How can we make a film about a very well-known athlete that feels unique? Immediately, the first time I met Steph, he got his phone out and started sharing photos and videos from college. He just lit up and you could sense a nostalgia for that moment in his life. You got the sense that this piece of the story hadn’t really been told.\u003c/p>\n\u003cp>\u003cb>Steph and the Warriors ended up winning the NBA Finals in 2022, which aligned perfectly with the theme of Steph’s resilience at Davidson. How did that unlikely Warriors championship shape your filmmaking in the moment? Did the plot evolve while shooting? No pun intended.\u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13820054']It wasn’t a thought. I encouraged people in meetings to keep a gentle eye on the season. Documentaries are wildly unpredictable. For my film about the police department in Oakland [\u003ci>The Force\u003c/i>], we had to re-edit the entire thing in the final hour because an OPD scandal broke out and it became an integral part of the film. With \u003ci>Homeroom \u003c/i>[about Oakland High School], COVID hit and Black Lives Matter went international. You can’t predict those in a documentary, but if you position yourself to allow those unexpected things to happen and you’re prepared to make a shift in the narrative, that’s where the magical moments happen.\u003c/p>\n\u003cp>The championship was not integral to our narrative. This documentary is a coming-of-age story about an underrated, undersized player who couldn’t even get the opportunity to play at his parent’s alma mater, [Virginia Tech]. The fact that he went on a run in the NBA Finals and it dovetailed with his failed effort in the 2008 [NCAA] tournament was really poignant. It’s beyond serendipity.\u003c/p>\n\u003cp>\u003cb>What are the challenges of piecing all those years and scenes together to tell a coherent narrative?\u003c/b>\u003c/p>\n\u003cp>If you watch the movie, the credit [goes to] JD Marlow, the editor who did a remarkable job, it’s the weaving of three storylines. Maybe four if you count Steph’s relationship with Coach [Bob] McKillop about someone fulfilling their full potential. There’s always a mentor who isn’t a parent in those situations. An uncle, cousin, coach. It makes a difference. In that arc of the Davidson Wildcats, it also tracked the Warriors’ improbable run to a championship and Stephen’s promise to his mom [to complete his college degree].\u003c/p>\n\u003cp>That’s a very difficult task — to weave them together in a coherent way, with pace and entertainment. JD Marlow was the architect behind that. The poignancy of the parallels comes into focus in terms of how [Steph and Coach McKillop] were both able to finally achieve what they couldn’t back in 2008.\u003c/p>\n\u003cp>\u003cb>I’m a Warriors diehard and Steph loyalist, yet even I learned so much and enjoyed lots of the recovered footage in this film. What’s the process of collecting intimate moments to share with an audience? Were you always in the room interviewing Steph?\u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13914916']I typically don’t do interviews in my movies. It’s observational filming, sometimes filming myself. Hanging out with Steph for an afternoon, he might be working out or with his kids, and it becomes a way to show a behind-the-scenes picture of what it’s like to navigate a crushing schedule while being a husband and father. You don’t know what those scenes are going to ultimately say until you’ve shot them and then watch them with editors.\u003c/p>\n\u003cp>We knew we’d shoot Steph with as much access as we could get. We knew we would interview his parents and the people in his life going back to Davidson to try to understand the impact he had and tell the story of that 2008 run. We interviewed scores of former students from that time to retell that story.\u003c/p>\n\u003cp>The last pieces are archival — personal, family, stuff that students had shot or collected. That was challenging. Matt Fisher was our archival editor; he scraped the internet and reached out to alumni groups, the university, Steph’s family. NCAA and NBA footage [are used] as well. You collect all that stuff and sort of have an idea of where you’re going and then you start putting it together in the editing room. And as the everyday narrative unfolds during the NBA season, you start to shift the narrative more.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>This film is largely about Steph Curry as a fallible, unlikely hero, rather than an invincible superstar. What were the challenges in telling the story in a way that allows audiences to see him — one of the most accomplished players in NBA history — as being underrated? Some would argue he is actually overrated.\u003c/b>\u003c/p>\n\u003cp>The title emerged pretty early. Most of us have gone through some time in our life when we’ve felt underrated, misunderstood, maybe had a chip on our shoulder and felt we had something to prove. Even with a superstar on Steph Curry’s level that can exist. As we got deeper into the details of his early career in high school and him not getting any recognition from D-I schools, we recognized the depth of the lack of vision that people had for his potential.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Peter Nicks']‘It goes back to the notion that all of us are connected and that we all need a sense of family and community to represent us.’[/pullquote]In a subtle way, I’ve been exploring that theme in Oakland. What’s at stake when people do not fully see you? Ryan [Coogler, this film’s producer,] told a story with extreme stakes with Oscar Grant — a young Black kid in a hoodie — about the consequences of not being seen as a whole person. Steph’s story is a version of that notion of how we only see the surface — a skinny kid, undersized, might get pushed around. With scouts and journalists, there’s a knee-jerk judgment there that gets layered on top of someone’s potential future. When that happens, it’s very difficult to overcome.\u003c/p>\n\u003cp>We found out how whenever family and a community see you and lift you up, and a mentor steps in and believes in you, powerful things happen. We’ve been unpacking that notion of being underrated and how it applies to athletes, communities, universities. It became a driving idea for \u003ci>Underrated\u003c/i>.\u003c/p>\n\u003cp>\u003cb>In his lowest moments, Steph Curry had his family and Coach McKillop. Who was your mentor, and in what ways have you felt underrated?\u003c/b>\u003c/p>\n\u003cp>In college, I had a significant drug problem and was arrested and sent to federal prison. When I got out, I was getting my life back together and went to Howard to study creative writing. That wasn’t even six years removed from me being in federal prison.\u003c/p>\n\u003cp>I got it in my head to study documentaries. UC Berkeley was a great place for that. \u003ca href=\"https://journalism.berkeley.edu/person/else/\">Jon Else\u003c/a> was a filmmaker there, and had been nominated for Oscars. He was a producer for the seminal PBS series about Civil Rights, \u003ci>Eyes on the Prize\u003c/i>. I didn’t think I’d get in because of my grades and my record. [John Else] talked to me, he listened, he heard my story about why I was there and what I was hoping to achieve, what I had planned for the next five years. He advocated for my admission and I got in. That changed my life.\u003c/p>\n\u003cp>Because I was seen, despite what had happened to me and despite me not meeting the eye test, so to speak, I was nevertheless seen. I thought about that while making this movie: the parallels. I’m 6-foot-2. Steph is 6-foot-2. I’m mixed race. Steph is mixed race. I was born in Akron, Ohio. Steph was born in Akron, Ohio. How do you explain that? It goes back to the notion that all of us are connected and that we all need a sense of family and community to represent us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003ci>‘Stephen Curry: Underrated’ plays April 13 at the San Francisco International Film Festival with screenings at 6:30 p.m. and 9:30 p.m. at the Grand Lake Theater in Oakland. Peter Nicks and producer Ryan Coogler are expected to attend both screenings. \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are countless ways to talk about \u003ca href=\"https://www.kqed.org/arts/13914916/stephen-curry-chef-warriors-game-6-nba-finals-2022\">Golden State Warriors megastar, Stephen Wardell Curry\u003c/a>. Champion. “\u003ca href=\"https://www.davidson.edu/news/2022/12/01/home-team-stephen-curry-10-improbable-journey-began-davidson\">Improbable\u003c/a>.” Future Hall of Famer. “\u003ca href=\"https://www.nbcsports.com/bayarea/warriors/ridiculous-steph-curry-slingshot-pass-resulted-perfect-steve-kerr-reaction\">Absurd\u003c/a>.” Humble. “\u003ca href=\"https://www.youtube.com/watch?v=joxzF51REAE\">So inspirational\u003c/a>.” Father. No singular descriptor can capture \u003ca href=\"https://www.youtube.com/watch?v=flm-cZ7r6eE\">the Three-Point God\u003c/a> in all of his matrix-bending dimensionality, but perhaps one word comes close: underrated.\u003c/p>\n\u003cp>But how can the best shooter in basketball’s history — who boasts one of the sport’s best resumes as a two-time league MVP, four-time NBA champion, eight-time All-NBAer and nine-time All-Star, who has definitively splashed the most three-point field goals of all-time — be undervalued, even underappreciated? It’s a question that Bay Area filmmaker, Peter Nicks, set out to investigate with his latest documentary, \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated-2/\">\u003ci>Stephen Curry: Underrated\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Premiering April 13, on the opening night at the \u003ca href=\"https://www.kqed.org/arts/13926757/2023-sffilm-festival-bay-area-guide\">2023 SFFILM Festival\u003c/a>, the visual biography takes viewers on an intimate ride-along from the early moments of Curry’s high school days to the present — hot off a triumphant 2022 NBA Finals run. The film presents a story of redemption and endurance, sacrifice and celebration, disappointment and euphoria. At its core, it’s the most human depiction you’ll likely ever get of the global phenomenon.\u003c/p>\n\u003cp>Basketball isn’t at the forefront of this film: a messy, perseverant human life is. There are scenes of Curry doing homework after NBA practice to earn his college degree. There are moments with his three children that teeter between frustration and playfulness. And there are flashbacks — lots of flashbacks — to his years as a scrawny, unknown, often-dismissed teenager who went unrecruited by the nation’s top basketball programs and settled for the only option he had: Davidson College, a small liberal arts school in suburban North Carolina with zero basketball notoriety. It was a program he would drastically transform.\u003c/p>\n\u003cp>Despite his herculean achievements, Curry has remained largely “underrated.” He’s never embodied the desired stature or cocky attitude of a dominant athlete. It’s fitting, then, that Nicks — a Bay Area storyteller who has been documenting Oakland’s institutions for the past decade — would be the perfect person to share Curry’s inspiring story with a national audience. Nicks sat down with KQED to talk about his own journey to becoming a filmmaker and the process of creating \u003ci>Underrated\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13927574\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg\" alt=\"Four men stand smiling in front of Sunday step-and-repeat\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Producer Ryan Coogler, director Peter Nicks, Stephen Curry, and producer Erick Peyton at the 2023 Sundance Film Festival for the premiere of ‘Stephen Curry: Underrated.’ \u003ccite>(Photo by Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: How did your sports fandom influence or inform your approach to this film? Did you grow up rooting for the Warriors?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Peter Nicks:\u003c/b> I grew up a hardcore sports fan from Boston. The \u003ca href=\"https://www.youtube.com/watch?v=pVQUel1Ssq8\">“We Believe” team\u003c/a> was the first time I kinda got shaken out of my complacency and started to pay closer attention [to the Warriors]. The Bay Area in the 2000s was just an incredibly exciting place to be a sports fan.\u003c/p>\n\u003cp>I wasn’t making sports documentaries; I was making films about a community facing challenges — education, criminal justice, healthcare. I noticed that Bay sports arenas were filled with wildly diverse groups of people from all walks of life. I always fantasized making a film about the A’s that celebrated the Bay and the community and how people can come together — like church. Sporting events are a time when people come together for a common purpose. To capture that in film was something I wanted to do.\u003c/p>\n\u003cp>\u003cb>When did the actual recording and interviews happen? What were you most interested in capturing during those moments?\u003c/b>\u003c/p>\n\u003cp>It was several months prior to last year’s season. I met with Steph and explained to him my philosophy of storytelling, which involves observation without filming: hanging out and understanding the ecosystem. If it’s an institution, I spend time with doctors, nurses, patients. In this case, it was with Steph and his family. In a way, he has become his own Bay Area institution, a superstar.\u003c/p>\n\u003cp>How can we make a film about a very well-known athlete that feels unique? Immediately, the first time I met Steph, he got his phone out and started sharing photos and videos from college. He just lit up and you could sense a nostalgia for that moment in his life. You got the sense that this piece of the story hadn’t really been told.\u003c/p>\n\u003cp>\u003cb>Steph and the Warriors ended up winning the NBA Finals in 2022, which aligned perfectly with the theme of Steph’s resilience at Davidson. How did that unlikely Warriors championship shape your filmmaking in the moment? Did the plot evolve while shooting? No pun intended.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It wasn’t a thought. I encouraged people in meetings to keep a gentle eye on the season. Documentaries are wildly unpredictable. For my film about the police department in Oakland [\u003ci>The Force\u003c/i>], we had to re-edit the entire thing in the final hour because an OPD scandal broke out and it became an integral part of the film. With \u003ci>Homeroom \u003c/i>[about Oakland High School], COVID hit and Black Lives Matter went international. You can’t predict those in a documentary, but if you position yourself to allow those unexpected things to happen and you’re prepared to make a shift in the narrative, that’s where the magical moments happen.\u003c/p>\n\u003cp>The championship was not integral to our narrative. This documentary is a coming-of-age story about an underrated, undersized player who couldn’t even get the opportunity to play at his parent’s alma mater, [Virginia Tech]. The fact that he went on a run in the NBA Finals and it dovetailed with his failed effort in the 2008 [NCAA] tournament was really poignant. It’s beyond serendipity.\u003c/p>\n\u003cp>\u003cb>What are the challenges of piecing all those years and scenes together to tell a coherent narrative?\u003c/b>\u003c/p>\n\u003cp>If you watch the movie, the credit [goes to] JD Marlow, the editor who did a remarkable job, it’s the weaving of three storylines. Maybe four if you count Steph’s relationship with Coach [Bob] McKillop about someone fulfilling their full potential. There’s always a mentor who isn’t a parent in those situations. An uncle, cousin, coach. It makes a difference. In that arc of the Davidson Wildcats, it also tracked the Warriors’ improbable run to a championship and Stephen’s promise to his mom [to complete his college degree].\u003c/p>\n\u003cp>That’s a very difficult task — to weave them together in a coherent way, with pace and entertainment. JD Marlow was the architect behind that. The poignancy of the parallels comes into focus in terms of how [Steph and Coach McKillop] were both able to finally achieve what they couldn’t back in 2008.\u003c/p>\n\u003cp>\u003cb>I’m a Warriors diehard and Steph loyalist, yet even I learned so much and enjoyed lots of the recovered footage in this film. What’s the process of collecting intimate moments to share with an audience? Were you always in the room interviewing Steph?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I typically don’t do interviews in my movies. It’s observational filming, sometimes filming myself. Hanging out with Steph for an afternoon, he might be working out or with his kids, and it becomes a way to show a behind-the-scenes picture of what it’s like to navigate a crushing schedule while being a husband and father. You don’t know what those scenes are going to ultimately say until you’ve shot them and then watch them with editors.\u003c/p>\n\u003cp>We knew we’d shoot Steph with as much access as we could get. We knew we would interview his parents and the people in his life going back to Davidson to try to understand the impact he had and tell the story of that 2008 run. We interviewed scores of former students from that time to retell that story.\u003c/p>\n\u003cp>The last pieces are archival — personal, family, stuff that students had shot or collected. That was challenging. Matt Fisher was our archival editor; he scraped the internet and reached out to alumni groups, the university, Steph’s family. NCAA and NBA footage [are used] as well. You collect all that stuff and sort of have an idea of where you’re going and then you start putting it together in the editing room. And as the everyday narrative unfolds during the NBA season, you start to shift the narrative more.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>This film is largely about Steph Curry as a fallible, unlikely hero, rather than an invincible superstar. What were the challenges in telling the story in a way that allows audiences to see him — one of the most accomplished players in NBA history — as being underrated? Some would argue he is actually overrated.\u003c/b>\u003c/p>\n\u003cp>The title emerged pretty early. Most of us have gone through some time in our life when we’ve felt underrated, misunderstood, maybe had a chip on our shoulder and felt we had something to prove. Even with a superstar on Steph Curry’s level that can exist. As we got deeper into the details of his early career in high school and him not getting any recognition from D-I schools, we recognized the depth of the lack of vision that people had for his potential.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a subtle way, I’ve been exploring that theme in Oakland. What’s at stake when people do not fully see you? Ryan [Coogler, this film’s producer,] told a story with extreme stakes with Oscar Grant — a young Black kid in a hoodie — about the consequences of not being seen as a whole person. Steph’s story is a version of that notion of how we only see the surface — a skinny kid, undersized, might get pushed around. With scouts and journalists, there’s a knee-jerk judgment there that gets layered on top of someone’s potential future. When that happens, it’s very difficult to overcome.\u003c/p>\n\u003cp>We found out how whenever family and a community see you and lift you up, and a mentor steps in and believes in you, powerful things happen. We’ve been unpacking that notion of being underrated and how it applies to athletes, communities, universities. It became a driving idea for \u003ci>Underrated\u003c/i>.\u003c/p>\n\u003cp>\u003cb>In his lowest moments, Steph Curry had his family and Coach McKillop. Who was your mentor, and in what ways have you felt underrated?\u003c/b>\u003c/p>\n\u003cp>In college, I had a significant drug problem and was arrested and sent to federal prison. When I got out, I was getting my life back together and went to Howard to study creative writing. That wasn’t even six years removed from me being in federal prison.\u003c/p>\n\u003cp>I got it in my head to study documentaries. UC Berkeley was a great place for that. \u003ca href=\"https://journalism.berkeley.edu/person/else/\">Jon Else\u003c/a> was a filmmaker there, and had been nominated for Oscars. He was a producer for the seminal PBS series about Civil Rights, \u003ci>Eyes on the Prize\u003c/i>. I didn’t think I’d get in because of my grades and my record. [John Else] talked to me, he listened, he heard my story about why I was there and what I was hoping to achieve, what I had planned for the next five years. He advocated for my admission and I got in. That changed my life.\u003c/p>\n\u003cp>Because I was seen, despite what had happened to me and despite me not meeting the eye test, so to speak, I was nevertheless seen. I thought about that while making this movie: the parallels. I’m 6-foot-2. Steph is 6-foot-2. I’m mixed race. Steph is mixed race. I was born in Akron, Ohio. Steph was born in Akron, Ohio. How do you explain that? It goes back to the notion that all of us are connected and that we all need a sense of family and community to represent us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003ci>‘Stephen Curry: Underrated’ plays April 13 at the San Francisco International Film Festival with screenings at 6:30 p.m. and 9:30 p.m. at the Grand Lake Theater in Oakland. Peter Nicks and producer Ryan Coogler are expected to attend both screenings. \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Chinese Immigrants All Over the World Persevered: They Opened Restaurants",
"headTitle": "How Chinese Immigrants All Over the World Persevered: They Opened Restaurants | KQED",
"content": "\u003cp>You can find Chinese restaurants almost everywhere. That’s a fundamental fact of today’s globalized economy. But if you’ve ever stumbled across a wonton and egg roll joint in, say, a remote Canadian prairie town or a heavily Latino stretch of Fruitvale, you may have wondered to yourself, “How in the world did this place open \u003ci>here\u003c/i>?”\u003c/p>\n\u003cp>That’s the question that has propelled the documentary filmmaker Cheuk Kwan for years. In the early 2000s, he spent four years traveling the world to create a \u003ca href=\"https://chineserestaurants.tv/\">documentary series\u003c/a> on diasporic restaurants owned and operated by Chinese immigrants. Now, he’s written a new book based on those experiences. Part travelog, part food memoir, \u003ca href=\"https://www.simonandschuster.com/books/Have-You-Eaten-Yet/Cheuk-Kwan/9781639363346\">\u003ci>Have You Eaten Yet?\u003c/i>\u003c/a> tells the story of the immigrants behind 15 of the world’s most far-flung and unexpected Chinese restaurants, whether they’re wielding their woks in the Amazon or way up in the Arctic Circle. The book also functions as a dissertation on the Chinese diasporic experience itself.\u003c/p>\n\u003cp>“When I travel, I always poke my head into Chinese restaurants,” Kwan says. “I’m not only searching for comfort food — I’m always very curious about how these people got there.”\u003c/p>\n\u003cp>\u003ca href=\"https://oacc.cc/event/have-you-eaten-yet/\">On April 2\u003c/a>, Kwan will join the legendary chef Martin Yan on stage at the Oakland Asian Cultural Center for a conversation about food, the Chinese diaspora and the way restaurants function as a survival tool — and a wellspring of creativity — for Chinese immigrants all over the world.\u003c/p>\n\u003cp>For Kwan, this decades-long project has been a natural extension of his own identity: The Toronto resident was born in Hong Kong, raised in Singapore and Japan, and educated in the United States, including a year at UC Berkeley in the mid-’70s, at the height of the Asian American political movement. As a result of this diasporic upbringing, Kwan says, he encountered very little during his travels to Chinese restaurants around the world that he found truly surprising — not the simple bacon-and-eggs breakfasts served at a Chinese cafe in Saskatchewan, Canada, nor the chaufa fried rice he found at the Chinatown in Lima, Peru.\u003c/p>\n\u003cfigure id=\"attachment_13927114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam.jpg\" alt=\"The author and documentary filmmaker Cheuk Kwan poses for a portrait in a black sports coat.\" width=\"1920\" height=\"1285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-1536x1028.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author’s own diasporic Chinese background helped fuel the project. \u003ccite>(Cedric Sam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because I’ve gone through a lot of cultures myself, I understand how people have to hybridize cuisine to cater to local customers,” he says. “It’s a matter of survival.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That isn’t to say he didn’t learn anything from his travels. Kwan points to the time he spent in Madagascar, off the southeastern coast of Africa, where he was surprised to find that the local Chinese community goes back five or six generations, with families still sending their kids to attend Chinese language schools even as the community intermarried and assimilated into the local population. One of Madagascar’s national dishes, soupe chinoise, is essentially Chinese wonton soup. “Everybody eats it,” Kwan says, “breakfast, lunch and dinner.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13905832,arts_13924997,arts_13925835']\u003c/span>Still, Kwan doesn’t think of the book as being about food per se. “It’s using food as an illustration of how adaptive and creative people can be when they’re thrown into a foreign land and barriers to language,” he says.\u003c/p>\n\u003cp>For Sunday’s event, Kwan expects to have a rich and wide-ranging conversation with Yan, who, even beyond his illustrious television career, has taught Chinese cooking all over the world — and has, in that way, become an icon of the Chinese diaspora.\u003c/p>\n\u003cp>Of course, it wouldn’t be a proper Martin Yan event without some kind of cooking demonstration, though the event organizers are keeping the exact details a surprise. “He’s going to add some flavor to the event,” Kwan says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Have You Eaten Yet?’ takes place on Sunday, April 2, from 2–4 p.m. at the Oakland Asian Cultural Center (388 9th St., Ste. 290) in Oakland. Tickets are free with \u003c/i>\u003ca href=\"https://oacc.cc/event/have-you-eaten-yet/\">\u003ci>pre-registration\u003c/i>\u003c/a>\u003ci>, and the event is wheelchair-accessible.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can find Chinese restaurants almost everywhere. That’s a fundamental fact of today’s globalized economy. But if you’ve ever stumbled across a wonton and egg roll joint in, say, a remote Canadian prairie town or a heavily Latino stretch of Fruitvale, you may have wondered to yourself, “How in the world did this place open \u003ci>here\u003c/i>?”\u003c/p>\n\u003cp>That’s the question that has propelled the documentary filmmaker Cheuk Kwan for years. In the early 2000s, he spent four years traveling the world to create a \u003ca href=\"https://chineserestaurants.tv/\">documentary series\u003c/a> on diasporic restaurants owned and operated by Chinese immigrants. Now, he’s written a new book based on those experiences. Part travelog, part food memoir, \u003ca href=\"https://www.simonandschuster.com/books/Have-You-Eaten-Yet/Cheuk-Kwan/9781639363346\">\u003ci>Have You Eaten Yet?\u003c/i>\u003c/a> tells the story of the immigrants behind 15 of the world’s most far-flung and unexpected Chinese restaurants, whether they’re wielding their woks in the Amazon or way up in the Arctic Circle. The book also functions as a dissertation on the Chinese diasporic experience itself.\u003c/p>\n\u003cp>“When I travel, I always poke my head into Chinese restaurants,” Kwan says. “I’m not only searching for comfort food — I’m always very curious about how these people got there.”\u003c/p>\n\u003cp>\u003ca href=\"https://oacc.cc/event/have-you-eaten-yet/\">On April 2\u003c/a>, Kwan will join the legendary chef Martin Yan on stage at the Oakland Asian Cultural Center for a conversation about food, the Chinese diaspora and the way restaurants function as a survival tool — and a wellspring of creativity — for Chinese immigrants all over the world.\u003c/p>\n\u003cp>For Kwan, this decades-long project has been a natural extension of his own identity: The Toronto resident was born in Hong Kong, raised in Singapore and Japan, and educated in the United States, including a year at UC Berkeley in the mid-’70s, at the height of the Asian American political movement. As a result of this diasporic upbringing, Kwan says, he encountered very little during his travels to Chinese restaurants around the world that he found truly surprising — not the simple bacon-and-eggs breakfasts served at a Chinese cafe in Saskatchewan, Canada, nor the chaufa fried rice he found at the Chinatown in Lima, Peru.\u003c/p>\n\u003cfigure id=\"attachment_13927114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam.jpg\" alt=\"The author and documentary filmmaker Cheuk Kwan poses for a portrait in a black sports coat.\" width=\"1920\" height=\"1285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Kwan-Author-Photo-Credit-Cedric-Sam-1536x1028.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author’s own diasporic Chinese background helped fuel the project. \u003ccite>(Cedric Sam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because I’ve gone through a lot of cultures myself, I understand how people have to hybridize cuisine to cater to local customers,” he says. “It’s a matter of survival.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Still, Kwan doesn’t think of the book as being about food per se. “It’s using food as an illustration of how adaptive and creative people can be when they’re thrown into a foreign land and barriers to language,” he says.\u003c/p>\n\u003cp>For Sunday’s event, Kwan expects to have a rich and wide-ranging conversation with Yan, who, even beyond his illustrious television career, has taught Chinese cooking all over the world — and has, in that way, become an icon of the Chinese diaspora.\u003c/p>\n\u003cp>Of course, it wouldn’t be a proper Martin Yan event without some kind of cooking demonstration, though the event organizers are keeping the exact details a surprise. “He’s going to add some flavor to the event,” Kwan says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Have You Eaten Yet?’ takes place on Sunday, April 2, from 2–4 p.m. at the Oakland Asian Cultural Center (388 9th St., Ste. 290) in Oakland. Tickets are free with \u003c/i>\u003ca href=\"https://oacc.cc/event/have-you-eaten-yet/\">\u003ci>pre-registration\u003c/i>\u003c/a>\u003ci>, and the event is wheelchair-accessible.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
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