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"content": "\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>[aside postid='arts_13934081']The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>[aside postid='arts_13934154']“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n",
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"title": "In ‘BS High’ and ‘Telemarketers,’ Scamming Is a Group Effort",
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"content": "\u003cp>The thriving true-crime category in television is dominated by murders and scams, and it tends to be far better at explaining the latter than the former. Murders often don’t seem rationally motivated. Scams often do. And the best scam documentaries explore not just what drives the wild characters who hoodwink other people, but broken systems and wider failings that give them the ability to do it.\u003c/p>\n\u003cp>The latest scam documentary is from HBO. Called \u003cem>BS High\u003c/em>, it’s directed by Travon Free and Martin Desmond Roe, and it follows the story of the Bishop Sycamore football team. The team was supposedly out of Bishop Sycamore High School in Ohio. Only as it turned out, there was no Bishop Sycamore High School. There was only a football team run by a guy named Roy Johnson, who recruited young men who hadn’t successfully gotten into college football and promised them that his “program” could be a bridge for them to get there. But there were no classes and no academics, players say promises to improve grades or scores were fiction, and there wasn’t even any real coaching of value. This all came to light in 2021 after Bishop Sycamore was beaten 58-0 in a game against Florida’s IMG Academy (a highly rated actual sports academy) that was broadcast on ESPN.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aevincEID5Y\u003c/p>\n\u003ch3>A program that wasn’t what it appeared to be\u003c/h3>\n\u003cp>The specifics of the Bishop Sycamore scandal as reported in the documentary are upsetting, to say the least. On top of the broken promises, young men were injured, because the team didn’t have proper training support and was utterly unqualified to play the teams they played. They weren’t actually being prepared for elite football, which there’s no evidence Johnson knew how to coach. Some even wound up with evictions on their personal records (which can create problems down the road when you’re renting again) after players say Johnson failed to pay the bills he’d taken on for their housing. They also allege that he got them to apply for — or even applied on their behalf for — fraudulent PPP loans during the COVID pandemic (intended for small businesses) that provided money they could then give him to pay “tuition.” (Johnson denies this, and some, but not all, of the other claims from players. He also admits at one point that he doesn’t mind lying about anything he doesn’t think anybody can prove one way or the other.) Players say they weren’t even reliably fed, to the point where both Johnson and the team resorted to theft or scamming just so they could eat. These gory details are all fairly standard true-crime fare, despite their monstrousness.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Where \u003cem>BS High\u003c/em> excels is in its consideration of the systemic failures that allow something like Bishop Sycamore to happen — and then potentially to keep happening. Sports journalist Bomani Jones says in the film that Johnson is not the problem, he’s a symptom of the problem. The problem is the amount of money in high school sports, and the fact that because paying players is verboten, adults collect all that money for \u003cem>supplying \u003c/em>the players that the system needs. (One of the more distasteful figures in the film is the guy in a suit whose company arranged Bishop Sycamore’s punishing and totally inappropriate schedule, including the game against IMG Academy. There’s money in “matchmaking” between high schools across the country, it turns out, no matter how lopsided the matchups.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones talks, too, about the significance of the fact that most of these young players were Black, as is Johnson. “The fact that the players are Black is the reason why somebody like Roy Johnson would think that he could get away with this.” And so, Jones says, it’s the wrong angle to think in terms of why Johnson would do this to “his people.” Jones says: “He did that to his people because that’s who you can do this to. Black players are the commodity in athletics. They are the prize that everybody wants, and they are also the least respected people in the whole process. So yeah, he was going to do this to Black people.”\u003c/p>\n\u003cp>As is often the case, there are apparent regulatory and media failures, too. Ben Ferree, a former investigator for the Ohio High School Athletic Association, spends a lot of time in the film explaining how the rules were not adequate to respond to the Bishop Sycamore scheme, nor could he get anyone in the media interested in reporting on it until the ESPN game. And when there eventually was an investigation from the state, the report called Bishop Sycamore “a scam,” but concluded there was little authority to regulate it, because it was organized as a religious school.\u003c/p>\n\u003cfigure id=\"attachment_13933826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe\" alt=\"A Black football player wearing a 3 jersey, stands on the field. To his right, a Black man wearing a baseball cap and grey t-shirts counsels him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8.jpe 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roy Johnson (right) presented himself as a high school coach. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones even indirectly indicts the complicity of ESPN itself when he talks about how bad the game had to be for the broadcast team to start calling out how dangerous and lopsided it seemed to be: “It takes a lot for a broadcast crew to be critical of what they are seeing in real time … It had to be so transparently fraudulent that people who were on the payroll to promote this event could not keep up the story.”\u003c/p>\n\u003cp>[aside postid='arts_13931346']All of this exists alongside, not in place of, the presentation of Johnson as an unsettlingly cold figure who seems to feel only glee that he’s made himself famous. Johnson is a colorful character, but also, as Ferree says, “His life provided a fantastic case study for all the flaws of the legal system.” Johnson would have gotten nowhere without systems that were ripe to be exploited, and the filmmakers do a good job of balancing attention to the eye-popping persona that Johnson presents with asking bigger questions about whether the opportunities for exploitation that he capitalized on were created by forces much larger than any one guy.\u003c/p>\n\u003ch3>Telemarketing, police, and drugs in the bathrooms\u003c/h3>\n\u003cp>And that is the unlikely connection between \u003cem>BS High\u003c/em> and HBO’s other current scammer entry, the docuseries \u003cem>Telemarketers\u003c/em>, which airs its third and final episode this weekend. \u003cem>Telemarketers \u003c/em>is about a phenomenon familiar to many of us: the phone call asking for money for some kind of charity connected to local law enforcement. You’re told that your donation will support the families of fallen officers or injured ones, or just that it will more broadly support the police. The telemarketing company at issue here, a New Jersey outfit called Civic Development Group, also raised money for other charities sometimes, like cancer foundations and firefighters, but it appears that police organizations were the bread and butter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5EhxXmSsdOs\u003c/p>\n\u003cp>As it happens, in the early 2000s, a young guy named Sam Lipman-Stern started bringing a video camera to work to document the no-holds-barred, absolutely wild office environment at CDG, where nobody even cared if you did heroin in the bathroom as long as you hit your call numbers. Sam’s grainy amateur video is the backbone of the early part of the series, which he directed with Adam Bhala Lough, a documentarian who happens to be his cousin. The two connected years later when Sam had already spent a lot of time “investigating” CDG after he left.\u003c/p>\n\u003cp>What’s to investigate? Well, in reality, in the initial iteration of CDG — and the business changed shape a few times — only a small portion of the money collected went to the “charity.” (And that’s if the charity was legit at all.) The rest stayed with the telemarketing company. This isn’t that shocking on its own; this is probably something a lot of people know about these kinds of calls by now. But in addition to being a solid character study of both Sam and his buddy Pat, a colleague and a seemingly legendary money-raiser (who is so Jersey he might as well have a fresh tomato growing out of his ear), \u003cem>Telemarketers \u003c/em>also considers the systemic reasons why this scam worked.\u003c/p>\n\u003ch3>Why did people donate?\u003c/h3>\n\u003cp>One key detail is that when a caller donated money, they’d be sent a sticker that looked like an official police decal of some kind, and the telemarketer would tell you to put it on your car or on the door of your business. And while obviously there was never any promise that this would prevent you from getting a ticket or get you any better response for your premises, the telemarketers knew that one reason people wanted the decals was that … well, yeah, maybe it would mean you wouldn’t get a ticket. Of course, trading a law enforcement decision for a donation would be totally corrupt, meaning that while the scam certainly wasn’t reliant on \u003cem>actual \u003c/em>police corruption, it could be aided by a \u003cem>belief \u003c/em>in police corruption — the belief that giving money could prevent you from being ticketed.\u003c/p>\n\u003cfigure id=\"attachment_13933827\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg\" alt=\"A scruffy man with salt and pepper hair and a mustache and stubble, mugs for the camera in front of an old fashioned desktop computer. He is wearing a rugby shirt.\" width=\"720\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Pespas, a longtime telemarketer with Civic Development Group, is one of the very colorful characters in ‘Telemarketers.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, though, it capitalized on the sympathies of people who automatically wanted to give money as soon as law enforcement was mentioned, \u003cem>and \u003c/em>it played on the fears of people who might be fearful of how they’d be treated by law enforcement if they didn’t give. So you might give money because you respected the police (like a thank-you), or because you feared the police (like protection money), or because you thought the police would treat you better (like a bribe). So the film effectively posits that this scam wouldn’t work nearly as well without the very particular relationships Americans have with policing. (Later installments go much deeper into the specifics of where this money was even going; suffice it to say it’s complicated.)\u003c/p>\n\u003cp>[aside postid='arts_13932890']\u003cem>Telemarketers \u003c/em>also explores why this operation — which, unlike Bishop Sycamore, required a large number of people to participate in the scam — was able to find people who wanted to work there. And the answer is, obviously, limited options. They recruited callers at places like halfway houses, they hired people who had been incarcerated and had trouble getting work, they hired people whose addiction issues might make it hard for them to show up for a job where they \u003cem>couldn’t \u003c/em>get high in the bathroom during the day. Without a steady supply of people who didn’t have a lot of better choices and thus kept the job even though they found it very distasteful and didn’t feel great about working there, it stands to reason that somebody might have exposed the details of the operation a lot sooner.\u003c/p>\n\u003cp>And so, like \u003cem>BS High\u003c/em>, we circle back to bigger questions. Not just “how did this work?”, but “\u003cem>Why\u003c/em> did this work?” If you assume that the world is full of budding scammers, then it’s easy to think of successful rip-offs as individual failures in someone’s defenses — “I’d never fall for that.” But a lot of scams are not bespoke plots to capitalize on a person’s particular frailties. They are aimed directly at systemic weaknesses, at gates we’ve left open for people to walk right through: poverty, capitalist exploitation, racism, community relationships with police, incarceration that dumps people out into the world with nothing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A good scammer documentary keeps you entertained with larger-than-life characters, but has the sense, at its core, to recognize that if any one scammer had to do it all alone, it would never work. It may take a village to stop a scam, but sometimes, it takes the rules of the village to enable one, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27BS+High%27+and+%27Telemarketers%2C%27+scamming+is+a+group+effort&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "In two HBO documentaries about scams in football and telemarketing, the systemic problems that drive grifts get their due.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thriving true-crime category in television is dominated by murders and scams, and it tends to be far better at explaining the latter than the former. Murders often don’t seem rationally motivated. Scams often do. And the best scam documentaries explore not just what drives the wild characters who hoodwink other people, but broken systems and wider failings that give them the ability to do it.\u003c/p>\n\u003cp>The latest scam documentary is from HBO. Called \u003cem>BS High\u003c/em>, it’s directed by Travon Free and Martin Desmond Roe, and it follows the story of the Bishop Sycamore football team. The team was supposedly out of Bishop Sycamore High School in Ohio. Only as it turned out, there was no Bishop Sycamore High School. There was only a football team run by a guy named Roy Johnson, who recruited young men who hadn’t successfully gotten into college football and promised them that his “program” could be a bridge for them to get there. But there were no classes and no academics, players say promises to improve grades or scores were fiction, and there wasn’t even any real coaching of value. This all came to light in 2021 after Bishop Sycamore was beaten 58-0 in a game against Florida’s IMG Academy (a highly rated actual sports academy) that was broadcast on ESPN.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aevincEID5Y'\n title='//www.youtube.com/embed/aevincEID5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A program that wasn’t what it appeared to be\u003c/h3>\n\u003cp>The specifics of the Bishop Sycamore scandal as reported in the documentary are upsetting, to say the least. On top of the broken promises, young men were injured, because the team didn’t have proper training support and was utterly unqualified to play the teams they played. They weren’t actually being prepared for elite football, which there’s no evidence Johnson knew how to coach. Some even wound up with evictions on their personal records (which can create problems down the road when you’re renting again) after players say Johnson failed to pay the bills he’d taken on for their housing. They also allege that he got them to apply for — or even applied on their behalf for — fraudulent PPP loans during the COVID pandemic (intended for small businesses) that provided money they could then give him to pay “tuition.” (Johnson denies this, and some, but not all, of the other claims from players. He also admits at one point that he doesn’t mind lying about anything he doesn’t think anybody can prove one way or the other.) Players say they weren’t even reliably fed, to the point where both Johnson and the team resorted to theft or scamming just so they could eat. These gory details are all fairly standard true-crime fare, despite their monstrousness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Where \u003cem>BS High\u003c/em> excels is in its consideration of the systemic failures that allow something like Bishop Sycamore to happen — and then potentially to keep happening. Sports journalist Bomani Jones says in the film that Johnson is not the problem, he’s a symptom of the problem. The problem is the amount of money in high school sports, and the fact that because paying players is verboten, adults collect all that money for \u003cem>supplying \u003c/em>the players that the system needs. (One of the more distasteful figures in the film is the guy in a suit whose company arranged Bishop Sycamore’s punishing and totally inappropriate schedule, including the game against IMG Academy. There’s money in “matchmaking” between high schools across the country, it turns out, no matter how lopsided the matchups.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jones talks, too, about the significance of the fact that most of these young players were Black, as is Johnson. “The fact that the players are Black is the reason why somebody like Roy Johnson would think that he could get away with this.” And so, Jones says, it’s the wrong angle to think in terms of why Johnson would do this to “his people.” Jones says: “He did that to his people because that’s who you can do this to. Black players are the commodity in athletics. They are the prize that everybody wants, and they are also the least respected people in the whole process. So yeah, he was going to do this to Black people.”\u003c/p>\n\u003cp>As is often the case, there are apparent regulatory and media failures, too. Ben Ferree, a former investigator for the Ohio High School Athletic Association, spends a lot of time in the film explaining how the rules were not adequate to respond to the Bishop Sycamore scheme, nor could he get anyone in the media interested in reporting on it until the ESPN game. And when there eventually was an investigation from the state, the report called Bishop Sycamore “a scam,” but concluded there was little authority to regulate it, because it was organized as a religious school.\u003c/p>\n\u003cfigure id=\"attachment_13933826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe\" alt=\"A Black football player wearing a 3 jersey, stands on the field. To his right, a Black man wearing a baseball cap and grey t-shirts counsels him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8.jpe 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roy Johnson (right) presented himself as a high school coach. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones even indirectly indicts the complicity of ESPN itself when he talks about how bad the game had to be for the broadcast team to start calling out how dangerous and lopsided it seemed to be: “It takes a lot for a broadcast crew to be critical of what they are seeing in real time … It had to be so transparently fraudulent that people who were on the payroll to promote this event could not keep up the story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of this exists alongside, not in place of, the presentation of Johnson as an unsettlingly cold figure who seems to feel only glee that he’s made himself famous. Johnson is a colorful character, but also, as Ferree says, “His life provided a fantastic case study for all the flaws of the legal system.” Johnson would have gotten nowhere without systems that were ripe to be exploited, and the filmmakers do a good job of balancing attention to the eye-popping persona that Johnson presents with asking bigger questions about whether the opportunities for exploitation that he capitalized on were created by forces much larger than any one guy.\u003c/p>\n\u003ch3>Telemarketing, police, and drugs in the bathrooms\u003c/h3>\n\u003cp>And that is the unlikely connection between \u003cem>BS High\u003c/em> and HBO’s other current scammer entry, the docuseries \u003cem>Telemarketers\u003c/em>, which airs its third and final episode this weekend. \u003cem>Telemarketers \u003c/em>is about a phenomenon familiar to many of us: the phone call asking for money for some kind of charity connected to local law enforcement. You’re told that your donation will support the families of fallen officers or injured ones, or just that it will more broadly support the police. The telemarketing company at issue here, a New Jersey outfit called Civic Development Group, also raised money for other charities sometimes, like cancer foundations and firefighters, but it appears that police organizations were the bread and butter.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5EhxXmSsdOs'\n title='//www.youtube.com/embed/5EhxXmSsdOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As it happens, in the early 2000s, a young guy named Sam Lipman-Stern started bringing a video camera to work to document the no-holds-barred, absolutely wild office environment at CDG, where nobody even cared if you did heroin in the bathroom as long as you hit your call numbers. Sam’s grainy amateur video is the backbone of the early part of the series, which he directed with Adam Bhala Lough, a documentarian who happens to be his cousin. The two connected years later when Sam had already spent a lot of time “investigating” CDG after he left.\u003c/p>\n\u003cp>What’s to investigate? Well, in reality, in the initial iteration of CDG — and the business changed shape a few times — only a small portion of the money collected went to the “charity.” (And that’s if the charity was legit at all.) The rest stayed with the telemarketing company. This isn’t that shocking on its own; this is probably something a lot of people know about these kinds of calls by now. But in addition to being a solid character study of both Sam and his buddy Pat, a colleague and a seemingly legendary money-raiser (who is so Jersey he might as well have a fresh tomato growing out of his ear), \u003cem>Telemarketers \u003c/em>also considers the systemic reasons why this scam worked.\u003c/p>\n\u003ch3>Why did people donate?\u003c/h3>\n\u003cp>One key detail is that when a caller donated money, they’d be sent a sticker that looked like an official police decal of some kind, and the telemarketer would tell you to put it on your car or on the door of your business. And while obviously there was never any promise that this would prevent you from getting a ticket or get you any better response for your premises, the telemarketers knew that one reason people wanted the decals was that … well, yeah, maybe it would mean you wouldn’t get a ticket. Of course, trading a law enforcement decision for a donation would be totally corrupt, meaning that while the scam certainly wasn’t reliant on \u003cem>actual \u003c/em>police corruption, it could be aided by a \u003cem>belief \u003c/em>in police corruption — the belief that giving money could prevent you from being ticketed.\u003c/p>\n\u003cfigure id=\"attachment_13933827\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg\" alt=\"A scruffy man with salt and pepper hair and a mustache and stubble, mugs for the camera in front of an old fashioned desktop computer. He is wearing a rugby shirt.\" width=\"720\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Pespas, a longtime telemarketer with Civic Development Group, is one of the very colorful characters in ‘Telemarketers.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, though, it capitalized on the sympathies of people who automatically wanted to give money as soon as law enforcement was mentioned, \u003cem>and \u003c/em>it played on the fears of people who might be fearful of how they’d be treated by law enforcement if they didn’t give. So you might give money because you respected the police (like a thank-you), or because you feared the police (like protection money), or because you thought the police would treat you better (like a bribe). So the film effectively posits that this scam wouldn’t work nearly as well without the very particular relationships Americans have with policing. (Later installments go much deeper into the specifics of where this money was even going; suffice it to say it’s complicated.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Telemarketers \u003c/em>also explores why this operation — which, unlike Bishop Sycamore, required a large number of people to participate in the scam — was able to find people who wanted to work there. And the answer is, obviously, limited options. They recruited callers at places like halfway houses, they hired people who had been incarcerated and had trouble getting work, they hired people whose addiction issues might make it hard for them to show up for a job where they \u003cem>couldn’t \u003c/em>get high in the bathroom during the day. Without a steady supply of people who didn’t have a lot of better choices and thus kept the job even though they found it very distasteful and didn’t feel great about working there, it stands to reason that somebody might have exposed the details of the operation a lot sooner.\u003c/p>\n\u003cp>And so, like \u003cem>BS High\u003c/em>, we circle back to bigger questions. Not just “how did this work?”, but “\u003cem>Why\u003c/em> did this work?” If you assume that the world is full of budding scammers, then it’s easy to think of successful rip-offs as individual failures in someone’s defenses — “I’d never fall for that.” But a lot of scams are not bespoke plots to capitalize on a person’s particular frailties. They are aimed directly at systemic weaknesses, at gates we’ve left open for people to walk right through: poverty, capitalist exploitation, racism, community relationships with police, incarceration that dumps people out into the world with nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A good scammer documentary keeps you entertained with larger-than-life characters, but has the sense, at its core, to recognize that if any one scammer had to do it all alone, it would never work. It may take a village to stop a scam, but sometimes, it takes the rules of the village to enable one, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27BS+High%27+and+%27Telemarketers%2C%27+scamming+is+a+group+effort&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Janis Joplin’s first rehearsal with the rock band Big Brother & The Holding Company was apparently a loud affair. So loud it was alarming.\u003c/p>\n\u003cp>Bassist Peter Albin recalls the band raising the roof off one day in the 1960s when their playing was interrupted by a knock at the door. Two San Francisco police officers were investigating reports of a woman screaming.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers get a street-level view of the rise of the San Francisco dream — artistic freedom, community and authenticity — and its fall, thanks to hard drugs, commercialism and increasingly hard edges. The time period is 1965 to 1975, short but sweet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LTD7C-oFhc\u003c/p>\n\u003cp>“It’s not just the music,” says co-director Anoosh Tertzakian. “Everybody was trying to break the rules of whatever their medium was, and I think it’s in that breaking the rules that they found something new. The music was what was keeping the pulse together.”\u003c/p>\n\u003cp>The docuseries explores how the Grateful Dead got some of their iconic logos, how city music venues Avalon Ballroom and The Fillmore began, how the seminal Jefferson Airplane song “White Rabbit” came about and how the deaths at the Altamont show soured the hippie mood.\u003c/p>\n\u003cp>[aside postid='arts_13039627']Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>[aside postid='arts_13920973']The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. 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"content": "\u003cdiv class=\"post-body\">\u003cp>“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viewers get a street-level view of the rise of the San Francisco dream — artistic freedom, community and authenticity — and its fall, thanks to hard drugs, commercialism and increasingly hard edges. The time period is 1965 to 1975, short but sweet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-LTD7C-oFhc'\n title='//www.youtube.com/embed/-LTD7C-oFhc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s not just the music,” says co-director Anoosh Tertzakian. “Everybody was trying to break the rules of whatever their medium was, and I think it’s in that breaking the rules that they found something new. The music was what was keeping the pulse together.”\u003c/p>\n\u003cp>The docuseries explores how the Grateful Dead got some of their iconic logos, how city music venues Avalon Ballroom and The Fillmore began, how the seminal Jefferson Airplane song “White Rabbit” came about and how the deaths at the Altamont show soured the hippie mood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Documentary ‘The Eternal Memory’ Shows That Love Is Stronger Than Dementia",
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"content": "\u003cp>\u003cem>The Eternal Memory\u003c/em> begins with a confused Augusto Góngora waking up one morning as his wife of two decades gently greets him.\u003c/p>\n\u003cp>“Nice to meet you,” he tells her.\u003c/p>\n\u003cp>The loving, lyrical Maite Alberdi-directed documentary is the story of one man’s decline due to Alzheimer’s disease, but it’s so much more. It’s a stronger love story and one that tries to say things about a country’s collective memory, too.\u003c/p>\n\u003cp>[aside postid='arts_13931543']Góngora, a journalist, author and TV host, documented the crimes in his native Chile by Gen. Augusto Pinochet’s dictatorship. He and his wife, actress and academic Paulina Urrutia, are the stars of \u003cem>The Eternal Memory\u003c/em>, which documents his growing disorientation and unmooring.\u003c/p>\n\u003cp>It is a very intimate work, navigating the lost spaces in a ravaged mind, the camera going into their bedroom and even a shower stall. We watch Urrutia shave her husband, dry him with a towel like a child and read to him as they take a walk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m someone that has come here to help you remember who Augusto Góngora was,” she tells him.\u003c/p>\n\u003cp>Alberdi assembled some 40 hours of footage, augmented by 20 more that Urrutia captured when the couple was alone. The director also switches back in time to capture Góngora as a vibrant TV reporter and in home movies as a doting dad, his white hair turning black and a mustache suddenly sprouting on the younger man.\u003c/p>\n\u003cp>It is hard to watch the vibrant, articulate man in those old images struggling in his last years. He gets confused by his reflection in a glass door — “We know each other,” he tells his wife. Later, he sobs in frustration: “Something very strange is happening here. Help me, please.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v-hxO7_oEZw\u003c/p>\n\u003cp>Throughout is Urrutia, the very definition of a loving spouse, patient and trying not to take it personally that her husband is drifting away and not always knowing who she is.\u003c/p>\n\u003cp>“My love, you’re never alone. Never. Never,” she tells him.\u003c/p>\n\u003cp>Urrutia brings her husband to rehearsals for her play — they hold hands while going over her lines — exercise together, watch an eclipse, spontaneously dance in a gym and rewatch their marriage video. She is always trying to pull out memories, sharpen his mind, sooth his outbursts.\u003c/p>\n\u003cp>[aside postid='arts_13930824']The third prong of this film — following the dementia and the love story — is the memory of Chile. This is perhaps the weakest link in Alberdi’s movie, but the one most intriguing. The director tries to connect Góngora’s evaporating memory to that of his nation’s collective forgetting of its 1970s Pinochet trauma. It’s a large leap and not always neatly done, but an admirable attempt.\u003c/p>\n\u003cp>What is more devastating is Góngora’s own warning about memory loss. In a handwritten inscription to his wife in one of his books he writes: “Without memory, we wander confused, not knowing where to go.”\u003c/p>\n\u003cp>The couple share tears and laughter as he tries to remember what they ate on their first date and if he had any children already. “Since we met, you’ve given me so many wonderful things,” he tells her.\u003c/p>\n\u003cp>Later, he will cry over the thought of losing his treasured books. “What if somebody takes my books?” he cries out. “What is happening to me?”\u003c/p>\n\u003cp>The film won the Grand Jury Prize at the Sundance Film Festival this past January. Góngora died on May 19 at age 71. But he bravely left behind a moving document about how to live a meaningful life and how to fight for dignity even as the mind crumbles. And, most importantly, he taught us how to love and be loved.\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>‘The Eternal Memory’ can be seen at: Berkeley’s \u003ca href=\"https://rialtocinemas.com/the-eternal-memory-elm/\">Rialto Cinema\u003c/a> (2966 College Ave.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/eternal-memory/\">Smith Rafael Film Center\u003c/a> (1118 Fourth St.) from August 18, and San Francisco’s \u003ca href=\"https://www.landmarktheatres.com/movies/311641-the-eternal-memory/\">Opera Plaza Cinema\u003c/a> (601 Van Ness Ave) on August 19. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m someone that has come here to help you remember who Augusto Góngora was,” she tells him.\u003c/p>\n\u003cp>Alberdi assembled some 40 hours of footage, augmented by 20 more that Urrutia captured when the couple was alone. The director also switches back in time to capture Góngora as a vibrant TV reporter and in home movies as a doting dad, his white hair turning black and a mustache suddenly sprouting on the younger man.\u003c/p>\n\u003cp>It is hard to watch the vibrant, articulate man in those old images struggling in his last years. He gets confused by his reflection in a glass door — “We know each other,” he tells his wife. Later, he sobs in frustration: “Something very strange is happening here. Help me, please.”\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/v-hxO7_oEZw'\n title='//www.youtube.com/embed/v-hxO7_oEZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Throughout is Urrutia, the very definition of a loving spouse, patient and trying not to take it personally that her husband is drifting away and not always knowing who she is.\u003c/p>\n\u003cp>“My love, you’re never alone. Never. Never,” she tells him.\u003c/p>\n\u003cp>Urrutia brings her husband to rehearsals for her play — they hold hands while going over her lines — exercise together, watch an eclipse, spontaneously dance in a gym and rewatch their marriage video. She is always trying to pull out memories, sharpen his mind, sooth his outbursts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The third prong of this film — following the dementia and the love story — is the memory of Chile. This is perhaps the weakest link in Alberdi’s movie, but the one most intriguing. The director tries to connect Góngora’s evaporating memory to that of his nation’s collective forgetting of its 1970s Pinochet trauma. It’s a large leap and not always neatly done, but an admirable attempt.\u003c/p>\n\u003cp>What is more devastating is Góngora’s own warning about memory loss. In a handwritten inscription to his wife in one of his books he writes: “Without memory, we wander confused, not knowing where to go.”\u003c/p>\n\u003cp>The couple share tears and laughter as he tries to remember what they ate on their first date and if he had any children already. “Since we met, you’ve given me so many wonderful things,” he tells her.\u003c/p>\n\u003cp>Later, he will cry over the thought of losing his treasured books. “What if somebody takes my books?” he cries out. “What is happening to me?”\u003c/p>\n\u003cp>The film won the Grand Jury Prize at the Sundance Film Festival this past January. Góngora died on May 19 at age 71. But he bravely left behind a moving document about how to live a meaningful life and how to fight for dignity even as the mind crumbles. And, most importantly, he taught us how to love and be loved.\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>‘The Eternal Memory’ can be seen at: Berkeley’s \u003ca href=\"https://rialtocinemas.com/the-eternal-memory-elm/\">Rialto Cinema\u003c/a> (2966 College Ave.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/eternal-memory/\">Smith Rafael Film Center\u003c/a> (1118 Fourth St.) from August 18, and San Francisco’s \u003ca href=\"https://www.landmarktheatres.com/movies/311641-the-eternal-memory/\">Opera Plaza Cinema\u003c/a> (601 Van Ness Ave) on August 19. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Gripping View of Life in San Francisco’s SROs",
"headTitle": "A Gripping View of Life in San Francisco’s SROs | KQED",
"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>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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"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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"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>\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>\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/6cVi0gwobeg'\n title='//www.youtube.com/embed/6cVi0gwobeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"on-the-media": {
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"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",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"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.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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