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"content": "\u003cp>One way to think about the new Apple TV+ drama series \u003cem>Calls\u003c/em> is as a podcast. Specifically, a podcast that’s a descendant of the suspenseful radio drama, only it’s played through your TV. A mix of science fiction, thriller and mystery, \u003cem>Calls\u003c/em> is made up of a series of phone calls you listen to, accompanied by minimal graphics on screen: dots and names to represent people, sound waveforms to represent their voices, running captions of everything they say. The general visual feel will be familiar to anyone who watched swirling, bending curves in bright colors dance and bounce on a dark background in the age of the screensaver. There’s not a lot to it.\u003c/p>\n\u003cp>The mystery begins at the end—a common tactic—with a baffling and frightening occurrence, and then it doubles back to explore what exactly has happened to get us there. There are nine episodes total, each in the 15-20 minute range, and the cast is big and impressive: Aaron Taylor-Johnson, Rosario Dawson, Mark Duplass, Aubrey Plaza, Nick Jonas, and Pedro Pascal are just a few of the folks who show up. The episodes are standalone short stories that gradually reveal a larger tale. A guy on the phone with his girlfriend, a doctor on the phone with her sister, a man on the phone with a neighbor—all experiencing a baffling anomaly that disrupts their lives in different ways.\u003c/p>\n\u003cp>\u003cem>Calls \u003c/em>comes by its unconventional format honestly—this was always an audio project. It began with a ten-minute short film with the barest visuals by writer and director Timothée Hochet, who posted it to YouTube and then wrote and directed a French television series based on it. This version is, in turn, based on the French show, and was written and directed by Fede Álvarez, who made \u003cem>Don’t Breathe \u003c/em>as well and \u003cem>The Girl in the Spider’s Web\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RfpzdSJlv6o\u003c/p>\n\u003cp>What makes this an interesting effort arises out of the fact that it’s very different to write for audio drama than for television or film. There are a bunch of reasons that’s true, but one is that audiences need more and different signposting—voices that are different enough, characters calling each other by name, other cues that audio writers develop the ability to add seamlessly—to keep track of what’s going on. If you’ve ever listened to just the sound of a scene from a show or a film you’re not familiar with, you’ve probably noticed that you can lose your way very quickly, and if people are talking over each other or raising or lowering their voices, the complications can increase. (This is also why, for instance, if a news report on television plays the audio of a taped phone call, they’ll caption and label who’s talking and what they’re saying.) Audio writing is not just TV writing without the screen, and it requires tackling a different set of challenges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Calls%27+Is+A+Suspenseful+Audio+Drama+With+An+Effective+Visual+Boost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vM-Bja2Gy04\u003c/p>\n\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Despite being an eye-popping four hours long, 'Zach Snyder's Justice League' is a stronger film than Joss Whedon's 2017 version.",
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"title": "Here at Long (Really Long) Last, 'Zack Snyder's Justice League' is ... Pretty Good? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\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/vM-Bja2Gy04'\n title='//www.youtube.com/embed/vM-Bja2Gy04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Shooting Midnight Cowboy' Turns an Eye to a Dark, Problematic Masterpiece",
"headTitle": "‘Shooting Midnight Cowboy’ Turns an Eye to a Dark, Problematic Masterpiece | KQED",
"content": "\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vS2IdfBkkj0\u003c/p>\n\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\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/vS2IdfBkkj0'\n title='//www.youtube.com/embed/vS2IdfBkkj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Over a span of 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Learn more about the series here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>https://vimeo.com/449524937\u003c/p>\n\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\n\u003cp>https://vimeo.com/509851626\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you capturing this story and like ingraining in it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like your wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. And he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. And it was just beautiful to see, like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you capturing this story and like ingraining in it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like your wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. And he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. And it was just beautiful to see, like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\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/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Filmmaking is arguably the highest form of storytelling. To incorporate sounds, sights and poetry all into one final product is a feat to behold. All the while, another operation is unfolding behind the scenes: dealing with unpredictable weather, technical glitches, and human errors—and still producing a quality story. It’s inspiring work.\u003c/p>\n\u003cp>Over the next four weeks, we’re going to take a dive into the stories of a handful of filmmakers currently making art in our region. These filmmakers discuss the big questions behind their documentaries, the truths behind their fictions and how the Bay Area has influenced their work. We’re calling this filmmaker series \u003cem>Reel Talk\u003c/em>.\u003c/p>\n\u003cp>A couple of them are from here, and a couple of them have made this their chosen home. And all of them are filmmakers I think you should know.\u003c/p>\n\u003ch3>Maya Cueva\u003c/h3>\n\u003cp>\u003cem>Episode available now. Listen below. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893564\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maya Cueva \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Berkeley’s Maya Cueva makes documentary films that cover the heavy topics of immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cblockquote>\u003cp>“I don’t think of myself as the voice of the voiceless…I think what’s important is approaching it in a way where we’re asking, ‘What are stories you feel like aren’t being told or how do you feel like you’ve been misrepresented or ignored?’” says Cueva.\u003c/p>\u003c/blockquote>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003ch3>Alba Roland Mejia and Jon Warfield Harrison\u003c/h3>\n\u003cp>\u003cem>Episode drops March 12, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Untitled-design-3.png\" alt=\"Alba Roland Mejia and Jon Harrison\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-768x480.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alba Roland Mejia and Jon Warfield Harrison\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates Alba Roland Mejia and Jon Warfield Harrison are in the early stages of their careers as filmmakers. They’ve released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cblockquote>\u003cp>“It was just beautiful to see,” says Jon Warfield Harrison, describing the day on the set when community members lent a hand to help production. “It was a collaboration between like 25 different humans. And then all these background people we didn’t even really know, just coming together to make a movie in Oakland.”\u003c/p>\u003c/blockquote>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003ch3>Theo Hollingsworth\u003c/h3>\n\u003cp>\u003cem>Episode drops March 19, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893565\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png\" alt=\"Theo Hollingsworth\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Theo Hollingsworth \u003ccite>(Spencer Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2903107781&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/teddy_ruxpin/\" target=\"_blank\" rel=\"noopener noreferrer\">Theo Hollingsworth\u003c/a> knows about nerds. Back when he attended Howard University, he was given the nickname “spoken nerd” because of his personality and passion for poetry.\u003c/p>\n\u003cblockquote>\u003cp>“A blerd, which I totally ride with, is a Black nerd.” says Hollingsworth. He has a theory that the rise of stories depicting quirky African Americans is a byproduct of social media. “It’s just so easy now to showcase your nerdy-ass sense of humor or your nerdy-ass interest in comic books or sci-fi or whatever. And when you put that out there, people tend to gravitate toward you.”\u003c/p>\u003c/blockquote>\n\u003cp>He says he’s happy to be a part of the trend. At the same time, given what he’s seen online, he’s started thinking maybe he’s not \u003cem>that\u003c/em> nerdy. “I’m like the level two-three nerd, you know what I mean?” says Hollingsworth.\u003c/p>\n\u003cp>With his day job at Pixar, Hollingsworth is a full-time media maker. But this episode we’re focusing on what he does in his spare time.\u003c/p>\n\u003cp>Hollingsworth’s independently produced comedic sci-fi series, \u003ca href=\"https://www.theohollingsworth.com/sirius-lee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sirius Lee: The Problematic Time Transplant\u003c/em>\u003c/a>, dives into its own nerdom with quantum physics while addressing outdated perspectives on masculinity, gentrification and much more.\u003c/p>\n\u003cp>Hollingsworth, who grew up in Michigan, Tennessee and New York, has called the Bay Area home for nearly a decade. He has taken it upon himself to get ingrained in the community by doing production gigs with organizations like the \u003ca href=\"https://www.mandelagrocery.coop/\" target=\"_blank\" rel=\"noopener noreferrer\">Mandela Grocery Cooperative\u003c/a> and BAYCAT. With his latest series, Hollingsworth brings local businesses and Bay Area actors into the production process, telling a wacky fictional story that’s rooted in true community support.\u003c/p>\n\u003ch3>Cheryl Dunye\u003c/h3>\n\u003cp>\u003cem>Episode drops March 26, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893563\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png\" alt=\"Cheryl Dunye\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunye \u003ccite>(Ed Salsbury)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, which takes a critical look at the depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.” It’s a hybrid of first-person documentary and scripted fiction. But in talking to me, Dunye breaks it down to its most simplistic form, “the Dunyementary is Do Your Own Mentary.”\u003c/p>\n\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles.\u003c/p>\n\u003cp>She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has also produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Oakland is historically one of the most powerful Black spaces, woman spaces and queer spaces in the world,” says Dunye, and this intersecting epicenter pulled her to move here in 2010.\u003c/p>\n\u003cp>“It’s about Blackness, and liveliness, and realness,” says Dunye, which is true of Oakland, but also of Dunye.\u003c/p>\n\u003cp>The Bay Area has a rich history when it comes to filmmaking. The list of movies made here includes some heavy hitters: \u003cem>The House On Telegraph Hill, The Birds, The Mack, \u003c/em>\u003cem>Guess Who’s Coming To Dinner\u003c/em>?, \u003cem>The Joy Luck Club\u003c/em>, \u003cem>Mrs. Doubtfire, \u003c/em>\u003cem>The Pursuit of Happyness, The Princess Diaries, Godzilla, Coach Carter,\u003c/em> \u003cem>Blindspotting, Fruitvale Station\u003c/em> and\u003cem> Sorry to Bother You \u003c/em>to name a few\u003cem>.\u003c/em> I’m not even going to try to list off all of the filmmakers from here, but I will say that both those who are from The Bay and the people who choose to make films here carry the tradition of telling stories that incorporate the Bay Area’s scenic landscapes and deep culture. And there’s nothing like seeing home on the silver screen.\u003c/p>\n\u003cp>With this series, our aim is to give a little light to a few people who are taking the filmmaking baton and running with it right now… ish.\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>Filmmaking is arguably the highest form of storytelling. To incorporate sounds, sights and poetry all into one final product is a feat to behold. All the while, another operation is unfolding behind the scenes: dealing with unpredictable weather, technical glitches, and human errors—and still producing a quality story. It’s inspiring work.\u003c/p>\n\u003cp>Over the next four weeks, we’re going to take a dive into the stories of a handful of filmmakers currently making art in our region. These filmmakers discuss the big questions behind their documentaries, the truths behind their fictions and how the Bay Area has influenced their work. We’re calling this filmmaker series \u003cem>Reel Talk\u003c/em>.\u003c/p>\n\u003cp>A couple of them are from here, and a couple of them have made this their chosen home. And all of them are filmmakers I think you should know.\u003c/p>\n\u003ch3>Maya Cueva\u003c/h3>\n\u003cp>\u003cem>Episode available now. Listen below. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893564\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maya Cueva \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Berkeley’s Maya Cueva makes documentary films that cover the heavy topics of immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cblockquote>\u003cp>“I don’t think of myself as the voice of the voiceless…I think what’s important is approaching it in a way where we’re asking, ‘What are stories you feel like aren’t being told or how do you feel like you’ve been misrepresented or ignored?’” says Cueva.\u003c/p>\u003c/blockquote>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003ch3>Alba Roland Mejia and Jon Warfield Harrison\u003c/h3>\n\u003cp>\u003cem>Episode drops March 12, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Untitled-design-3.png\" alt=\"Alba Roland Mejia and Jon Harrison\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-768x480.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alba Roland Mejia and Jon Warfield Harrison\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates Alba Roland Mejia and Jon Warfield Harrison are in the early stages of their careers as filmmakers. They’ve released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cblockquote>\u003cp>“It was just beautiful to see,” says Jon Warfield Harrison, describing the day on the set when community members lent a hand to help production. “It was a collaboration between like 25 different humans. And then all these background people we didn’t even really know, just coming together to make a movie in Oakland.”\u003c/p>\u003c/blockquote>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003ch3>Theo Hollingsworth\u003c/h3>\n\u003cp>\u003cem>Episode drops March 19, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893565\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png\" alt=\"Theo Hollingsworth\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Theo Hollingsworth \u003ccite>(Spencer Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2903107781&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/teddy_ruxpin/\" target=\"_blank\" rel=\"noopener noreferrer\">Theo Hollingsworth\u003c/a> knows about nerds. Back when he attended Howard University, he was given the nickname “spoken nerd” because of his personality and passion for poetry.\u003c/p>\n\u003cblockquote>\u003cp>“A blerd, which I totally ride with, is a Black nerd.” says Hollingsworth. He has a theory that the rise of stories depicting quirky African Americans is a byproduct of social media. “It’s just so easy now to showcase your nerdy-ass sense of humor or your nerdy-ass interest in comic books or sci-fi or whatever. And when you put that out there, people tend to gravitate toward you.”\u003c/p>\u003c/blockquote>\n\u003cp>He says he’s happy to be a part of the trend. At the same time, given what he’s seen online, he’s started thinking maybe he’s not \u003cem>that\u003c/em> nerdy. “I’m like the level two-three nerd, you know what I mean?” says Hollingsworth.\u003c/p>\n\u003cp>With his day job at Pixar, Hollingsworth is a full-time media maker. But this episode we’re focusing on what he does in his spare time.\u003c/p>\n\u003cp>Hollingsworth’s independently produced comedic sci-fi series, \u003ca href=\"https://www.theohollingsworth.com/sirius-lee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sirius Lee: The Problematic Time Transplant\u003c/em>\u003c/a>, dives into its own nerdom with quantum physics while addressing outdated perspectives on masculinity, gentrification and much more.\u003c/p>\n\u003cp>Hollingsworth, who grew up in Michigan, Tennessee and New York, has called the Bay Area home for nearly a decade. He has taken it upon himself to get ingrained in the community by doing production gigs with organizations like the \u003ca href=\"https://www.mandelagrocery.coop/\" target=\"_blank\" rel=\"noopener noreferrer\">Mandela Grocery Cooperative\u003c/a> and BAYCAT. With his latest series, Hollingsworth brings local businesses and Bay Area actors into the production process, telling a wacky fictional story that’s rooted in true community support.\u003c/p>\n\u003ch3>Cheryl Dunye\u003c/h3>\n\u003cp>\u003cem>Episode drops March 26, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893563\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png\" alt=\"Cheryl Dunye\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunye \u003ccite>(Ed Salsbury)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, which takes a critical look at the depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.” It’s a hybrid of first-person documentary and scripted fiction. But in talking to me, Dunye breaks it down to its most simplistic form, “the Dunyementary is Do Your Own Mentary.”\u003c/p>\n\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles.\u003c/p>\n\u003cp>She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has also produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Oakland is historically one of the most powerful Black spaces, woman spaces and queer spaces in the world,” says Dunye, and this intersecting epicenter pulled her to move here in 2010.\u003c/p>\n\u003cp>“It’s about Blackness, and liveliness, and realness,” says Dunye, which is true of Oakland, but also of Dunye.\u003c/p>\n\u003cp>The Bay Area has a rich history when it comes to filmmaking. The list of movies made here includes some heavy hitters: \u003cem>The House On Telegraph Hill, The Birds, The Mack, \u003c/em>\u003cem>Guess Who’s Coming To Dinner\u003c/em>?, \u003cem>The Joy Luck Club\u003c/em>, \u003cem>Mrs. Doubtfire, \u003c/em>\u003cem>The Pursuit of Happyness, The Princess Diaries, Godzilla, Coach Carter,\u003c/em> \u003cem>Blindspotting, Fruitvale Station\u003c/em> and\u003cem> Sorry to Bother You \u003c/em>to name a few\u003cem>.\u003c/em> I’m not even going to try to list off all of the filmmakers from here, but I will say that both those who are from The Bay and the people who choose to make films here carry the tradition of telling stories that incorporate the Bay Area’s scenic landscapes and deep culture. And there’s nothing like seeing home on the silver screen.\u003c/p>\n\u003cp>With this series, our aim is to give a little light to a few people who are taking the filmmaking baton and running with it right now… ish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! People Have the Power",
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"content": "\u003cp>Nobody—not even bitcoin collectors and vaccine line-jumpers—can resist a good movie about the triumph of everyday people over injustice and corruption. The through-line of history, though, is that mass struggles inevitably confront massive setbacks. That’s not the Hollywood narrative, but it’s at the core of this week’s films.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Night of the Kings\u003c/strong>\u003c/em>\u003cbr>\nNow Playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/night-of-the-kings/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Philippe Lacote begins his spellbinding fable with the scenic aerial vista of a Jeep making its way through a verdant landscape to a large, imposing building. The young punk in handcuffs accompanied by armed soldiers can’t admire the view or appreciate the sweet air; he’s too anxious about his destination at the end of the rutted road.\u003c/p>\n\u003cp>The lad arrives at the dank Ivory Coast prison at an auspicious time, as the inmate who runs the place—subject to the arbitrary rule of the brutish authorities, of course—is nearing the end of his reign. He christens the newcomer Roman and appoints him storyteller for the evening, which the lad (played by Bakary Koné) prolongs to dawn via a procession of centuries-spanning chapters drawn from the seemingly disparate realms of folk tales and slum reality.\u003c/p>\n\u003cp>\u003cem>Night of the Kings\u003c/em> juxtaposes the visceral threats of prison life with the sensuous appeal of fantasy and escape, to mesmerizing effect. Lacote’s camera elegantly wends from chaos to order and back, funneling historical echoes into the present-day maelstrom. His artistry serves a political message that never overtakes Roman’s story or hijacks the film, but is ingrained in every frame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of the representations of power on display in the prison—that is, in the society—are a mirage; we never see the powers that be that hold the real power. The struggle within the underclass is perpetually doomed, unless and until they stop fighting each other and focus on their common enemy.\u003c/p>\n\u003cfigure id=\"attachment_13893600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg\" alt=\"A still from 'Lost Course.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13893600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lost Course.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Lost Course\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://bampfa.org/event/lost-course\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>In September of 2011, the villagers of Wukan in southern China angrily protested the sale of communal land for private gain by corrupt officials. Four demonstrators were arrested; one died in custody. The 9.21 incident, as it’s known, triggered even bigger protests and the political awakening of several activists.\u003c/p>\n\u003cp>Jill Li’s brave and intimate documentary, \u003cem>Lost Course\u003c/em>, follows those incipient leaders—and the cause of democracy itself—through the heady months and difficult years that followed. The three-hour film benefits from exceptional access and remarkable candor, providing a close-up perspective on grass-roots idealism and on-the-fly strategizing.\u003c/p>\n\u003cp>The protagonists take different paths as their initial goals are thwarted: One quits politics to open a tea shop and another disappears to the United States, though several run for reelection and continue their increasingly compromised campaigns for change. \u003cem>Lost Course\u003c/em>, consequently, becomes less of a study of democracy in China and more of a mosaic of public service, ambition, ego and ethics.\u003c/p>\n\u003cp>The title refers to the wrong turns, ill-advised decisions and poor directions that gradually led the leaders of the 9.21 Wukan movement off their altruistic path. But arguably the greatest error these moderate reformers made was trusting Xi Jinping (the President of the People’s Republic of China), as well as his predecessor, to acknowledge and comply with the will of the people. \u003c/p>\n\u003cp>\u003cem>Lost Course\u003c/em> concludes at the end of 2016 and was completed in 2019, by which time China’s approach to Hong Kong had clarified beyond doubt its attitude toward democracy. This is one documentary for which spoiler alerts are superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13893599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg\" alt=\"A helicopter sprays agent orange in Vietnam in a scene from 'The People vs. Agent Orange.'\" width=\"800\" height=\"455\" class=\"size-medium wp-image-13893599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1536x874.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A helicopter sprays agent orange in Vietnam in a scene from ‘The People vs. Agent Orange.’ \u003ccite>(PBS/Independent Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The People vs. Agent Orange\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/people-vs-agent-orange/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael\u003c/a>, \u003ca href=\"https://www.cinemasf.com/events-calendar/the-people-vs-agent-orange\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue)\u003c/p>\n\u003cp>It’s hard to argue with those who describe the virulently toxic herbicide that was Dow Chemical’s infamous contribution to the U.S. war on Vietnam (and its neighbors) in the late ’60s and ’70s as chemical warfare. Vietnam, you say? Isn’t that ancient history? How about all the kids with birth defects and all the miscarriages, in Vietnam and the U.S., spanning decades? \u003c/p>\n\u003cp>Veteran filmmakers Alan Adelson and Kate Taverna tackle the cold case files with a measured dispassion that, I must concede, is journalistically and historically responsible. But \u003cem>The People vs. Agent Orange\u003c/em> lacks an iota of the soul-piercing anger and fiery indignation necessary to launch viewers from their complacency. “Quietly infuriating” doesn’t do the trick, in this case.\u003c/p>\n\u003cp>The subjects of the film are two older women—not the most respected or heeded demographic in our culture, it must be said—who suffered enormous losses and are still fighting the U.S. government and the chemical manufacturers. Vietnam War survivor Tran To Nga has brought suit in a Paris court (where a verdict is expected this year), while Oregon environmental activist Carol Van Strum still holds out hope that the vast trove of documents she accrued through FOIA requests and other means will help bring someone to account.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The People vs. Agent Orange\u003c/em> will air on PBS this summer, although perhaps in a shorter cut. By then a French judge may have delivered justice, instead of yet another setback.\u003c/p>\n\n",
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"excerpt": "This week's films include 'Night of the Kings,' 'Lost Course' and 'The People vs. Agent Orange.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobody—not even bitcoin collectors and vaccine line-jumpers—can resist a good movie about the triumph of everyday people over injustice and corruption. The through-line of history, though, is that mass struggles inevitably confront massive setbacks. That’s not the Hollywood narrative, but it’s at the core of this week’s films.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Night of the Kings\u003c/strong>\u003c/em>\u003cbr>\nNow Playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/night-of-the-kings/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Philippe Lacote begins his spellbinding fable with the scenic aerial vista of a Jeep making its way through a verdant landscape to a large, imposing building. The young punk in handcuffs accompanied by armed soldiers can’t admire the view or appreciate the sweet air; he’s too anxious about his destination at the end of the rutted road.\u003c/p>\n\u003cp>The lad arrives at the dank Ivory Coast prison at an auspicious time, as the inmate who runs the place—subject to the arbitrary rule of the brutish authorities, of course—is nearing the end of his reign. He christens the newcomer Roman and appoints him storyteller for the evening, which the lad (played by Bakary Koné) prolongs to dawn via a procession of centuries-spanning chapters drawn from the seemingly disparate realms of folk tales and slum reality.\u003c/p>\n\u003cp>\u003cem>Night of the Kings\u003c/em> juxtaposes the visceral threats of prison life with the sensuous appeal of fantasy and escape, to mesmerizing effect. Lacote’s camera elegantly wends from chaos to order and back, funneling historical echoes into the present-day maelstrom. His artistry serves a political message that never overtakes Roman’s story or hijacks the film, but is ingrained in every frame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the representations of power on display in the prison—that is, in the society—are a mirage; we never see the powers that be that hold the real power. The struggle within the underclass is perpetually doomed, unless and until they stop fighting each other and focus on their common enemy.\u003c/p>\n\u003cfigure id=\"attachment_13893600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg\" alt=\"A still from 'Lost Course.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13893600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lost Course.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Lost Course\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://bampfa.org/event/lost-course\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>In September of 2011, the villagers of Wukan in southern China angrily protested the sale of communal land for private gain by corrupt officials. Four demonstrators were arrested; one died in custody. The 9.21 incident, as it’s known, triggered even bigger protests and the political awakening of several activists.\u003c/p>\n\u003cp>Jill Li’s brave and intimate documentary, \u003cem>Lost Course\u003c/em>, follows those incipient leaders—and the cause of democracy itself—through the heady months and difficult years that followed. The three-hour film benefits from exceptional access and remarkable candor, providing a close-up perspective on grass-roots idealism and on-the-fly strategizing.\u003c/p>\n\u003cp>The protagonists take different paths as their initial goals are thwarted: One quits politics to open a tea shop and another disappears to the United States, though several run for reelection and continue their increasingly compromised campaigns for change. \u003cem>Lost Course\u003c/em>, consequently, becomes less of a study of democracy in China and more of a mosaic of public service, ambition, ego and ethics.\u003c/p>\n\u003cp>The title refers to the wrong turns, ill-advised decisions and poor directions that gradually led the leaders of the 9.21 Wukan movement off their altruistic path. But arguably the greatest error these moderate reformers made was trusting Xi Jinping (the President of the People’s Republic of China), as well as his predecessor, to acknowledge and comply with the will of the people. \u003c/p>\n\u003cp>\u003cem>Lost Course\u003c/em> concludes at the end of 2016 and was completed in 2019, by which time China’s approach to Hong Kong had clarified beyond doubt its attitude toward democracy. This is one documentary for which spoiler alerts are superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13893599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg\" alt=\"A helicopter sprays agent orange in Vietnam in a scene from 'The People vs. Agent Orange.'\" width=\"800\" height=\"455\" class=\"size-medium wp-image-13893599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1536x874.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A helicopter sprays agent orange in Vietnam in a scene from ‘The People vs. Agent Orange.’ \u003ccite>(PBS/Independent Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The People vs. Agent Orange\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/people-vs-agent-orange/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael\u003c/a>, \u003ca href=\"https://www.cinemasf.com/events-calendar/the-people-vs-agent-orange\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue)\u003c/p>\n\u003cp>It’s hard to argue with those who describe the virulently toxic herbicide that was Dow Chemical’s infamous contribution to the U.S. war on Vietnam (and its neighbors) in the late ’60s and ’70s as chemical warfare. Vietnam, you say? Isn’t that ancient history? How about all the kids with birth defects and all the miscarriages, in Vietnam and the U.S., spanning decades? \u003c/p>\n\u003cp>Veteran filmmakers Alan Adelson and Kate Taverna tackle the cold case files with a measured dispassion that, I must concede, is journalistically and historically responsible. But \u003cem>The People vs. Agent Orange\u003c/em> lacks an iota of the soul-piercing anger and fiery indignation necessary to launch viewers from their complacency. “Quietly infuriating” doesn’t do the trick, in this case.\u003c/p>\n\u003cp>The subjects of the film are two older women—not the most respected or heeded demographic in our culture, it must be said—who suffered enormous losses and are still fighting the U.S. government and the chemical manufacturers. Vietnam War survivor Tran To Nga has brought suit in a Paris court (where a verdict is expected this year), while Oregon environmental activist Carol Van Strum still holds out hope that the vast trove of documents she accrued through FOIA requests and other means will help bring someone to account.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The People vs. Agent Orange\u003c/em> will air on PBS this summer, although perhaps in a shorter cut. By then a French judge may have delivered justice, instead of yet another setback.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
"headTitle": "Not Even Amy Poehler and Tina Fey Could Save This Year’s Snoozy Golden Globes | KQED",
"content": "\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\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/4FgS6q-xSoY'\n title='//www.youtube.com/embed/4FgS6q-xSoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VG58uqZPWsU'\n title='//www.youtube.com/embed/VG58uqZPWsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Black Panther Party and the Rev. Cheryl Dawson",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he sun shined down on West Oakland last Wednesday as I was greeted with a warm, welcoming, COVID-cautious elbow bump from Ericka Huggins.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Huggins, the former director of the Black Panther Party’s Oakland Community School, stood masked among a scattered crowd of people on the 1.3-mile stretch of greenway that bisects Mandela Parkway in West Oakland. It’s here that the Cypress Structure collapsed in the ’89 quake—and also where two months prior in that same year, Black Panther Party cofounder Dr. Huey P. Newton was shot and killed just a few blocks away.\u003c/p>\n\u003cp>And yet—as I overheard one person say during Wednesday’s gathering—“this isn’t where he died, this is where he \u003cem>lived\u003c/em>.”\u003c/p>\n\u003cp>Last Wednesday, Feb. 17, would’ve been Dr. Newton’s 79th birthday. To help celebrate were newly minted street signs on a three-block section of 9th Street, now officially rechristened Dr. Huey P. Newton Way.\u003c/p>\n\u003cp>After Fredrika Newton, Dr. Newton’s widow and president of the \u003ca href=\"https://hueypnewtonfoundation.org/\">Dr. Huey P. Newton Foundation\u003c/a>, ceremoniously removed the cloth that covered the new street sign on 9th Street and Mandela Parkway, the crowd made its way to the intersection of 9th and Center Streets. That’s where a freshly painted mural dedicated to the women of the Black Panther Party now radiates from the broad side of a two-story Victorian home.\u003c/p>\n\u003cfigure id=\"attachment_13893058\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMG_3053-800x600.jpg\" alt=\"A two-story home on Center street and 9th street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-story home on Center street and 9th Street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artist \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> worked with other artists and community members on \u003ca href=\"https://linktr.ee/westoaklandmuralproject\" target=\"_blank\" rel=\"noopener noreferrer\">the #SayHerName: Women of the Black Panther Party Mural Project\u003c/a>, an initiative spearheaded by homeowner \u003ca href=\"https://www.instagram.com/missjilie/\" target=\"_blank\" rel=\"noopener noreferrer\">JiLchristina Vest\u003c/a> that honors the names of the largely overlooked women of the Black Panther Party. Towering images of women supplying groceries and carrying guns, drawn from photos taken by \u003ca href=\"https://stephenshames.com/projects/black-panther-party/\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Shames\u003c/a>, are accompanied by the written names of over 250 women—all former Panthers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There aren’t that many public displays honoring the Black Panthers in Oakland. The new mural and street signs join a meager collection: a \u003ca href=\"https://localwiki.org/oakland/Black_Panther_Party\" target=\"_blank\" rel=\"noopener noreferrer\">small sign\u003c/a> on the corner of 55th and Market Streets, a \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">mural\u003c/a> on 14th and Peralta Streets, the \u003ca href=\"https://www.merritt.edu/student-life/hue-p-newton-lounge/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Lounge\u003c/a> at Merritt College and \u003ca href=\"https://www.npr.org/2018/04/06/600055767/bobby-hutton-the-killing-that-catapulted-the-black-panthers-to-fame\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bobby Hutton Grove\u003c/a> in DeFremery Park.\u003c/p>\n\u003cp>But countless Panther flags, shirts, and tattoos on the skin of the people in this community all stand as evidence of a widely-known fact: this is Panther territory.\u003c/p>\n\u003cfigure id=\"attachment_13893145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg\" alt=\"Two men hold a 'Free Huey' banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1536x1006.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two men hold a ‘Free Huey’ banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>ven beyond Oakland’s city limits, the Black Panther Party is once again in the larger public consciousness.\u003c/p>\n\u003cp>Shaka King’s recently released film \u003ca href=\"https://www.kqed.org/arts/13892640/director-shaka-kings-long-journey-to-judas-and-the-black-messiah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Judas and the Black Messiah\u003c/i>\u003c/a> has reinvigorated people’s interest in the life, politics, and assassination of the Illinois Black Panther Party chapter’s chairman, Fred Hampton. (The film is told from the perspective of William O’Neal, the informant who assisted the FBI in bringing Hampton down.)\u003c/p>\n\u003cp>But well before \u003cem>Judas and the Black Messiah\u003c/em>, and the murals and new signage in Oakland, the legacy of the Party and the individuals involved has long been a personal interest of mine.\u003c/p>\n\u003cp>I once held back childlike excitement when Ericka Huggins and archivist Lisbet Tellefsen allowed me to look through the \u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">old photos of the Black Panther’s Oakland Community School\u003c/a>. And I defeated pterodactyl-sized stomach butterflies of nervousness before asking Fredrika Newton \u003ca href=\"https://www.kqed.org/arts/13874735/fredrika-newton-huey-p-revolutionary-love\" target=\"_blank\" rel=\"noopener noreferrer\">intimate questions about her relationship with Dr. Newton\u003c/a>.[aside postID='arts_13874735']\u003c/p>\n\u003cp>I’ve talked to educational counselor and former Panther\u003ca href=\"https://ogtoldme.tumblr.com/post/68941837393/sometimes-we-devalue-ourselves-we-dont-really\" target=\"_blank\" rel=\"noopener noreferrer\"> Massai Minters\u003c/a> at UCLA’s Campbell Hall where Bunchy Carter and John Huggins were assassinated, attended an event at Merritt College where famed Black Panther Party illustrator \u003ca href=\"https://ogtoldme.tumblr.com/post/77494359367/culture-is-a-weapon-emory-douglas-emory\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a> spoke about his book \u003cem>Black Panther: The Revolutionary Art of Emory Douglas\u003c/em>, and even sat in a small apartment with a sick \u003ca href=\"https://ogtoldme.tumblr.com/post/49263235572/when-asked-what-guidance-he-would-give-to-a-young\" target=\"_blank\" rel=\"noopener noreferrer\">Ronald “Elder” Freeman\u003c/a>, discussing how to address the ills of society while simultaneously looking for his medicine. Elder has since passed, but his words linger.\u003c/p>\n\u003cp>Through these interactions, as well as reading books and watching documentaries, I’ve gained a certain understanding about the Panthers: terrorized by the government, stigmatized by the media, and loved by the people (well, \u003cem>some\u003c/em> of the people). The Panthers fought to save their community from the failures of a capitalist system, while simultaneously dealing with their own personal issues—issues that were largely the byproducts of a capitalist system.\u003c/p>\n\u003cp>Beyond the legacy of the Black Panther Party as a whole, I often think about the stories of the individual people involved. People whose stories haven’t been fully told. People like the Rev. Cheryl Dawson.\u003c/p>\n\u003cfigure id=\"attachment_13893142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg\" alt=\"Rev. Cheryl Dawson.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rev. Cheryl Dawson. \u003ccite>(Courtesy Cheryl Dawson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> took the political structure that I learned in the Party, and combined it with the information that I had about womanist theory and I took that work to the Congo—the Democratic Republic of the Congo—did I tell you about that?” Dawson asks me over the phone.\u003c/p>\n\u003cp>I tell her that during our two previous conversations she hadn’t mentioned that, so I’m glad she called back.\u003c/p>\n\u003cp>She tells me that about a decade ago she led empowerment workshops with women in Uganda and Haiti as well, using principles she developed when she was selling copies of the Black Panther Party newspaper on the corner of Alcatraz Avenue and Adeline Street in Berkeley back in the day.\u003c/p>\n\u003cp>In an earlier conversation, she mentions another chapter in her life that was also heavily influenced by her time with the Party.[aside postID='arts_13884294']\u003c/p>\n\u003cp>Starting in the early ’80s Dawson worked in and out of prisons, developing programs for women who are incarcerated. She spent the final decade of her career working as the Rehabilitation Services Coordinator in the San Francisco County Sheriff Office’s Women’s Resource Center. That’s where she implemented a curriculum to empower women through lectures, through the use of popular media to inspire critical thinking, and by asking class attendees to reflect on “\u003ca href=\"http://ww.sfsheriff.com/newsletter_june2017.html\" target=\"_blank\" rel=\"noopener noreferrer\">their own cultural experiences and injustices\u003c/a>”. Upon leaving her position last year, the San Francisco Sheriff’s Department honored her commitment to the work by naming Dec. 20 “Rev. Cheryl Dawson Day.”\u003c/p>\n\u003cp>I couldn’t help but wonder: \u003ci>How do you pivot from working for a revolutionary liberation organization to working for the very institution that incarcerates people?\u003c/i>\u003c/p>\n\u003cp>“I was working in the same sacred spaces,” explains Dawson. “The same tight corners, the same buried holes in the ground that I had tested, and walked in, and helped raise people up from when I was working in the Party … The pain that women wore in the prison is the same pain that I saw in the community from which they had come.”\u003c/p>\n\u003cp>Simply put, Dawson saw the position as an opportunity to get deeper into the system and make a change from within.\u003c/p>\n\u003cfigure id=\"attachment_13893149\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.1970s.jpg\" alt=\"Cheryl Dawson in the 1970s. \" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1980s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a consultant at the federal prison in Dublin, she recalls sitting outside of solitary confinement, kneeling down on the cement floor, and talking through the slit in the steel door where the food was passed through. “I was trying to get a glimpse of the woman I was talking to,” says Dawson. “To just hold her gaze for a moment and try to give her hope for tomorrow.”\u003c/p>\n\u003cp>She did this work while continuing to face “that same deep intimate pain” that she experienced as a young girl; the pain that pushed her to join the Party in the first place.\u003c/p>\n\u003cp>As a child, Dawson lived in \u003ca href=\"https://universityvillage.berkeley.edu/about/village-history\" target=\"_blank\" rel=\"noopener noreferrer\">Codornices Village\u003c/a>, a housing project on land leased from UC Berkeley to house wartime workers and their families in the 40s, many of them African American. It’s no coincidence that in the 1960s, when the housing projects were closed and the property was returned to UC Berkeley, \u003ca href=\"http://www.bayareacensus.ca.gov/cities/Albany50.htm\" target=\"_blank\" rel=\"noopener noreferrer\">the “Negro” population\u003c/a> of Albany went from 1,778 people in 1950 down to just 75 people in 1960.\u003c/p>\n\u003cp>Afterward, Dawson spent some time in Oakland, but Berkeley was her home. She lived one block to the white side of the city’s racial housing dividing line, formerly known as Grove street (now Martin Luther King Jr. Boulevard).\u003c/p>\n\u003cp>At Berkeley’s Longfellow Elementary School, despite being in the Black neighborhood of South Berkeley, she saw racism firsthand. In class, Dawson says, she and the other Black kids were routinely overlooked when they raised their hands and over-punished when they got in trouble.\u003c/p>\n\u003cfigure id=\"attachment_13893150\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg\" alt=\"Cheryl Dawson in the 1970s.\" width=\"600\" height=\"832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker-160x222.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1970s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says a brother as dark as she was once got in trouble, and a white teacher grabbed him by the scruff of his neck and put him under one of those old-fashioned wooden desks. The teacher then sat down and scooted her chair in. “She pinned him in like he was a dog or cat or something,” says Dawson. “The only thing he could do is look out from under the desk.”\u003c/p>\n\u003cp>The memory of the disobedient boy and the heavy-handed punishment stuck with her. Shortly afterward she learned about social workers, and how they helped people; especially people who looked like her. “At a very young age,” says Dawson, “I had a desire to do that, it was stamped in my heart. Unbeknownst to me, it would continue to manifest for the remainder of my life.”\u003c/p>\n\u003cp>She went on to attend Willard Junior High, which was much whiter, and well above the racial dividing line. After attending Berkeley High for the majority of her high school years, she graduated from Oakland Tech and went on to Cal State East Bay.\u003c/p>\n\u003cp>While she was in college, Dawson was invited to an event at Oakland City College where Black Panther Party for Self-Defense co-founder Bobby Seale was speaking. And the rest was history.\u003c/p>\n\u003cfigure id=\"attachment_13893143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson-800x532.jpg\" alt=\"Cheryl Dawson, seen here with her family.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson, seen here with her children. \u003ccite>(Courtesy Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ev. Dawson has no issue discussing details of her time in the Party, like bundling up her infant daughter at the early hour of “can’t see in the morning” so they could get to the Panther headquarters, serve the people and take political classes, only to return home at “can’t see at night.”\u003c/p>\n\u003cp>But what stands out from our conversation is Dawson periodically pausing to ask her grandchildren to “be careful while you’re doing that.”\u003c/p>\n\u003cp>Community service starts at home.\u003c/p>\n\u003cp>Dawson tells me she’s inspired by her great uncle, who left the south on a flatbed truck after being chased by the Klan. Once he settled in California, he sent for his sister, Dawson’s grandmother. Not too long after arriving in the Bay Area, Dawson’s grandmother and grandfather were wed through a marriage broker in West Oakland.[aside postID='arts_13825847']\u003c/p>\n\u003cp>Speaking highly of her four children, Dawson proudly mentions that two of her sons chose to change their names upon adulthood in an effort to shed their slave names.\u003c/p>\n\u003cp>Dawson holds a master’s degree in womanist theology from the American Baptist Seminary at UC Berkeley’s Graduate Theological Union, as well as an M.A. in women’s spirituality from San Francisco’s California Institute of Integral Studies. She was ordained as a reverend about five years ago, at the same place she served: the historic Beth Eden Baptist Church in West Oakland.\u003c/p>\n\u003cp>She tells me she just recently returned to the church, as nowadays spends most of her time with the grandchildren I heard in the background on our calls. And of course, she plans to take them to see the new mural featuring images of her comrades in West Oakland.\u003c/p>\n\u003cp>“The mural brings us from the margins to the center,” says Dawson of the artwork’s significance. “To turn the light on and say: I see you. And to further extend my view of connectivity and say, ‘I see you, because you are me.’ Just that alone is life-saving. And that’s what we were about in the Party: \u003cem>saving the lives of our people.\u003c/em>”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Rev. Cheryl Dawson recently spoke about her experiences with the Black Panther Party on the KQED podcast The Bay. \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Hear it here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>As part of ‘The Black Panther Party Celebration of Activism,’ Pendarvis Harshaw interviews Ryan Coogler, Marshawn Lynch, Marcus Roberts, Charles D. King and Josh Johnson, to be broadcast on Facebook Live and YouTube on Wednesday, Feb. 24, at noon PST. \u003ca href=\"https://www.oaklandrootssc.com/news_article/show/1146959\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he sun shined down on West Oakland last Wednesday as I was greeted with a warm, welcoming, COVID-cautious elbow bump from Ericka Huggins.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Huggins, the former director of the Black Panther Party’s Oakland Community School, stood masked among a scattered crowd of people on the 1.3-mile stretch of greenway that bisects Mandela Parkway in West Oakland. It’s here that the Cypress Structure collapsed in the ’89 quake—and also where two months prior in that same year, Black Panther Party cofounder Dr. Huey P. Newton was shot and killed just a few blocks away.\u003c/p>\n\u003cp>And yet—as I overheard one person say during Wednesday’s gathering—“this isn’t where he died, this is where he \u003cem>lived\u003c/em>.”\u003c/p>\n\u003cp>Last Wednesday, Feb. 17, would’ve been Dr. Newton’s 79th birthday. To help celebrate were newly minted street signs on a three-block section of 9th Street, now officially rechristened Dr. Huey P. Newton Way.\u003c/p>\n\u003cp>After Fredrika Newton, Dr. Newton’s widow and president of the \u003ca href=\"https://hueypnewtonfoundation.org/\">Dr. Huey P. Newton Foundation\u003c/a>, ceremoniously removed the cloth that covered the new street sign on 9th Street and Mandela Parkway, the crowd made its way to the intersection of 9th and Center Streets. That’s where a freshly painted mural dedicated to the women of the Black Panther Party now radiates from the broad side of a two-story Victorian home.\u003c/p>\n\u003cfigure id=\"attachment_13893058\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMG_3053-800x600.jpg\" alt=\"A two-story home on Center street and 9th street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-story home on Center street and 9th Street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artist \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> worked with other artists and community members on \u003ca href=\"https://linktr.ee/westoaklandmuralproject\" target=\"_blank\" rel=\"noopener noreferrer\">the #SayHerName: Women of the Black Panther Party Mural Project\u003c/a>, an initiative spearheaded by homeowner \u003ca href=\"https://www.instagram.com/missjilie/\" target=\"_blank\" rel=\"noopener noreferrer\">JiLchristina Vest\u003c/a> that honors the names of the largely overlooked women of the Black Panther Party. Towering images of women supplying groceries and carrying guns, drawn from photos taken by \u003ca href=\"https://stephenshames.com/projects/black-panther-party/\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Shames\u003c/a>, are accompanied by the written names of over 250 women—all former Panthers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There aren’t that many public displays honoring the Black Panthers in Oakland. The new mural and street signs join a meager collection: a \u003ca href=\"https://localwiki.org/oakland/Black_Panther_Party\" target=\"_blank\" rel=\"noopener noreferrer\">small sign\u003c/a> on the corner of 55th and Market Streets, a \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">mural\u003c/a> on 14th and Peralta Streets, the \u003ca href=\"https://www.merritt.edu/student-life/hue-p-newton-lounge/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Lounge\u003c/a> at Merritt College and \u003ca href=\"https://www.npr.org/2018/04/06/600055767/bobby-hutton-the-killing-that-catapulted-the-black-panthers-to-fame\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bobby Hutton Grove\u003c/a> in DeFremery Park.\u003c/p>\n\u003cp>But countless Panther flags, shirts, and tattoos on the skin of the people in this community all stand as evidence of a widely-known fact: this is Panther territory.\u003c/p>\n\u003cfigure id=\"attachment_13893145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg\" alt=\"Two men hold a 'Free Huey' banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1536x1006.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two men hold a ‘Free Huey’ banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>ven beyond Oakland’s city limits, the Black Panther Party is once again in the larger public consciousness.\u003c/p>\n\u003cp>Shaka King’s recently released film \u003ca href=\"https://www.kqed.org/arts/13892640/director-shaka-kings-long-journey-to-judas-and-the-black-messiah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Judas and the Black Messiah\u003c/i>\u003c/a> has reinvigorated people’s interest in the life, politics, and assassination of the Illinois Black Panther Party chapter’s chairman, Fred Hampton. (The film is told from the perspective of William O’Neal, the informant who assisted the FBI in bringing Hampton down.)\u003c/p>\n\u003cp>But well before \u003cem>Judas and the Black Messiah\u003c/em>, and the murals and new signage in Oakland, the legacy of the Party and the individuals involved has long been a personal interest of mine.\u003c/p>\n\u003cp>I once held back childlike excitement when Ericka Huggins and archivist Lisbet Tellefsen allowed me to look through the \u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">old photos of the Black Panther’s Oakland Community School\u003c/a>. And I defeated pterodactyl-sized stomach butterflies of nervousness before asking Fredrika Newton \u003ca href=\"https://www.kqed.org/arts/13874735/fredrika-newton-huey-p-revolutionary-love\" target=\"_blank\" rel=\"noopener noreferrer\">intimate questions about her relationship with Dr. Newton\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve talked to educational counselor and former Panther\u003ca href=\"https://ogtoldme.tumblr.com/post/68941837393/sometimes-we-devalue-ourselves-we-dont-really\" target=\"_blank\" rel=\"noopener noreferrer\"> Massai Minters\u003c/a> at UCLA’s Campbell Hall where Bunchy Carter and John Huggins were assassinated, attended an event at Merritt College where famed Black Panther Party illustrator \u003ca href=\"https://ogtoldme.tumblr.com/post/77494359367/culture-is-a-weapon-emory-douglas-emory\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a> spoke about his book \u003cem>Black Panther: The Revolutionary Art of Emory Douglas\u003c/em>, and even sat in a small apartment with a sick \u003ca href=\"https://ogtoldme.tumblr.com/post/49263235572/when-asked-what-guidance-he-would-give-to-a-young\" target=\"_blank\" rel=\"noopener noreferrer\">Ronald “Elder” Freeman\u003c/a>, discussing how to address the ills of society while simultaneously looking for his medicine. Elder has since passed, but his words linger.\u003c/p>\n\u003cp>Through these interactions, as well as reading books and watching documentaries, I’ve gained a certain understanding about the Panthers: terrorized by the government, stigmatized by the media, and loved by the people (well, \u003cem>some\u003c/em> of the people). The Panthers fought to save their community from the failures of a capitalist system, while simultaneously dealing with their own personal issues—issues that were largely the byproducts of a capitalist system.\u003c/p>\n\u003cp>Beyond the legacy of the Black Panther Party as a whole, I often think about the stories of the individual people involved. People whose stories haven’t been fully told. People like the Rev. Cheryl Dawson.\u003c/p>\n\u003cfigure id=\"attachment_13893142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg\" alt=\"Rev. Cheryl Dawson.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rev. Cheryl Dawson. \u003ccite>(Courtesy Cheryl Dawson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> took the political structure that I learned in the Party, and combined it with the information that I had about womanist theory and I took that work to the Congo—the Democratic Republic of the Congo—did I tell you about that?” Dawson asks me over the phone.\u003c/p>\n\u003cp>I tell her that during our two previous conversations she hadn’t mentioned that, so I’m glad she called back.\u003c/p>\n\u003cp>She tells me that about a decade ago she led empowerment workshops with women in Uganda and Haiti as well, using principles she developed when she was selling copies of the Black Panther Party newspaper on the corner of Alcatraz Avenue and Adeline Street in Berkeley back in the day.\u003c/p>\n\u003cp>In an earlier conversation, she mentions another chapter in her life that was also heavily influenced by her time with the Party.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starting in the early ’80s Dawson worked in and out of prisons, developing programs for women who are incarcerated. She spent the final decade of her career working as the Rehabilitation Services Coordinator in the San Francisco County Sheriff Office’s Women’s Resource Center. That’s where she implemented a curriculum to empower women through lectures, through the use of popular media to inspire critical thinking, and by asking class attendees to reflect on “\u003ca href=\"http://ww.sfsheriff.com/newsletter_june2017.html\" target=\"_blank\" rel=\"noopener noreferrer\">their own cultural experiences and injustices\u003c/a>”. Upon leaving her position last year, the San Francisco Sheriff’s Department honored her commitment to the work by naming Dec. 20 “Rev. Cheryl Dawson Day.”\u003c/p>\n\u003cp>I couldn’t help but wonder: \u003ci>How do you pivot from working for a revolutionary liberation organization to working for the very institution that incarcerates people?\u003c/i>\u003c/p>\n\u003cp>“I was working in the same sacred spaces,” explains Dawson. “The same tight corners, the same buried holes in the ground that I had tested, and walked in, and helped raise people up from when I was working in the Party … The pain that women wore in the prison is the same pain that I saw in the community from which they had come.”\u003c/p>\n\u003cp>Simply put, Dawson saw the position as an opportunity to get deeper into the system and make a change from within.\u003c/p>\n\u003cfigure id=\"attachment_13893149\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.1970s.jpg\" alt=\"Cheryl Dawson in the 1970s. \" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1980s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a consultant at the federal prison in Dublin, she recalls sitting outside of solitary confinement, kneeling down on the cement floor, and talking through the slit in the steel door where the food was passed through. “I was trying to get a glimpse of the woman I was talking to,” says Dawson. “To just hold her gaze for a moment and try to give her hope for tomorrow.”\u003c/p>\n\u003cp>She did this work while continuing to face “that same deep intimate pain” that she experienced as a young girl; the pain that pushed her to join the Party in the first place.\u003c/p>\n\u003cp>As a child, Dawson lived in \u003ca href=\"https://universityvillage.berkeley.edu/about/village-history\" target=\"_blank\" rel=\"noopener noreferrer\">Codornices Village\u003c/a>, a housing project on land leased from UC Berkeley to house wartime workers and their families in the 40s, many of them African American. It’s no coincidence that in the 1960s, when the housing projects were closed and the property was returned to UC Berkeley, \u003ca href=\"http://www.bayareacensus.ca.gov/cities/Albany50.htm\" target=\"_blank\" rel=\"noopener noreferrer\">the “Negro” population\u003c/a> of Albany went from 1,778 people in 1950 down to just 75 people in 1960.\u003c/p>\n\u003cp>Afterward, Dawson spent some time in Oakland, but Berkeley was her home. She lived one block to the white side of the city’s racial housing dividing line, formerly known as Grove street (now Martin Luther King Jr. Boulevard).\u003c/p>\n\u003cp>At Berkeley’s Longfellow Elementary School, despite being in the Black neighborhood of South Berkeley, she saw racism firsthand. In class, Dawson says, she and the other Black kids were routinely overlooked when they raised their hands and over-punished when they got in trouble.\u003c/p>\n\u003cfigure id=\"attachment_13893150\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg\" alt=\"Cheryl Dawson in the 1970s.\" width=\"600\" height=\"832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker-160x222.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1970s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says a brother as dark as she was once got in trouble, and a white teacher grabbed him by the scruff of his neck and put him under one of those old-fashioned wooden desks. The teacher then sat down and scooted her chair in. “She pinned him in like he was a dog or cat or something,” says Dawson. “The only thing he could do is look out from under the desk.”\u003c/p>\n\u003cp>The memory of the disobedient boy and the heavy-handed punishment stuck with her. Shortly afterward she learned about social workers, and how they helped people; especially people who looked like her. “At a very young age,” says Dawson, “I had a desire to do that, it was stamped in my heart. Unbeknownst to me, it would continue to manifest for the remainder of my life.”\u003c/p>\n\u003cp>She went on to attend Willard Junior High, which was much whiter, and well above the racial dividing line. After attending Berkeley High for the majority of her high school years, she graduated from Oakland Tech and went on to Cal State East Bay.\u003c/p>\n\u003cp>While she was in college, Dawson was invited to an event at Oakland City College where Black Panther Party for Self-Defense co-founder Bobby Seale was speaking. And the rest was history.\u003c/p>\n\u003cfigure id=\"attachment_13893143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson-800x532.jpg\" alt=\"Cheryl Dawson, seen here with her family.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson, seen here with her children. \u003ccite>(Courtesy Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ev. Dawson has no issue discussing details of her time in the Party, like bundling up her infant daughter at the early hour of “can’t see in the morning” so they could get to the Panther headquarters, serve the people and take political classes, only to return home at “can’t see at night.”\u003c/p>\n\u003cp>But what stands out from our conversation is Dawson periodically pausing to ask her grandchildren to “be careful while you’re doing that.”\u003c/p>\n\u003cp>Community service starts at home.\u003c/p>\n\u003cp>Dawson tells me she’s inspired by her great uncle, who left the south on a flatbed truck after being chased by the Klan. Once he settled in California, he sent for his sister, Dawson’s grandmother. Not too long after arriving in the Bay Area, Dawson’s grandmother and grandfather were wed through a marriage broker in West Oakland.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking highly of her four children, Dawson proudly mentions that two of her sons chose to change their names upon adulthood in an effort to shed their slave names.\u003c/p>\n\u003cp>Dawson holds a master’s degree in womanist theology from the American Baptist Seminary at UC Berkeley’s Graduate Theological Union, as well as an M.A. in women’s spirituality from San Francisco’s California Institute of Integral Studies. She was ordained as a reverend about five years ago, at the same place she served: the historic Beth Eden Baptist Church in West Oakland.\u003c/p>\n\u003cp>She tells me she just recently returned to the church, as nowadays spends most of her time with the grandchildren I heard in the background on our calls. And of course, she plans to take them to see the new mural featuring images of her comrades in West Oakland.\u003c/p>\n\u003cp>“The mural brings us from the margins to the center,” says Dawson of the artwork’s significance. “To turn the light on and say: I see you. And to further extend my view of connectivity and say, ‘I see you, because you are me.’ Just that alone is life-saving. And that’s what we were about in the Party: \u003cem>saving the lives of our people.\u003c/em>”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Rev. Cheryl Dawson recently spoke about her experiences with the Black Panther Party on the KQED podcast The Bay. \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Hear it here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>As part of ‘The Black Panther Party Celebration of Activism,’ Pendarvis Harshaw interviews Ryan Coogler, Marshawn Lynch, Marcus Roberts, Charles D. King and Josh Johnson, to be broadcast on Facebook Live and YouTube on Wednesday, Feb. 24, at noon PST. \u003ca href=\"https://www.oaklandrootssc.com/news_article/show/1146959\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF Alums and Urban Film Fest Find the Connective Threads",
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"content": "\u003cp>This week’s offerings commemorate the intersection of Valentine’s Day and Black History Month with an overlap of class reunion. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Show Me What You Got\u003c/strong>\u003c/em>\u003cbr />\nFeb. 12, 14–15\u003cbr />\n\u003ca href=\"https://www.levelforward.live/smwyg\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>Svetlana Cvetko lives in L.A. and shoots all over the world, but her roots as a filmmaker are in the Bay Area. After gravitating to San Francisco from the former Yugoslavia several years ago, Cvetko took film classes and turned her eye from photography to cinematography. She was a quick study, making narrative shorts while shooting local docs like Charles Ferguson’s Oscar-winning \u003cem>Inside Job\u003c/em>, Jacob Kornbluth’s \u003cem>Inequality for All\u003c/em> and Jason Cohen’s \u003cem>Silicon Cowboys\u003c/em>.\u003c/p>\n\u003cp>Cvetko’s wonderful and wise second feature as a director, \u003cem>Show Me What You Got\u003c/em>, is infused with an L.A. vibe filtered through the French New Wave. Shot by Cvetko in joyous, handheld black-and-white, the movie depicts a ménage à trois between a barista-slash-artist (Cristina Rambaldi), the son of an Italian TV soaps star (Mattia Minasi) and a would-be actor (Neyssan Falahi) postponing his return to Tehran.\u003c/p>\n\u003cp>A seductive yet mature study of love, freedom and responsibility, \u003cem>Show Me What You Got\u003c/em> returns for a virtual run after screening at the Mill Valley Film Festival in 2019. Play dates are limited, so hurry and schedule your play date (pun intended).\u003c/p>\n\u003cfigure id=\"attachment_13892733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13892733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Lynne Sachs’ ‘Film About A Father Who.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Films of Lynne Sachs\u003c/strong>\u003cbr />\nOpens Feb. 12\u003cbr />\n\u003ca href=\"https://www.roxie.com/the-films-of-lynne-sachs/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>\u003c/p>\n\u003cp>“This is not a portrait,” states Lynne Sachs, near the end of \u003cem>Film About a Father Who\u003c/em>, after the last in a string of revelations. “This is not a self-portrait. This is my reckoning with the conundrum of our asymmetry.” Shot on a procession of film and video formats from 1965 though 2019, Sachs’ fascinating new film isn’t therapy, either.\u003c/p>\n\u003cp>Sachs studied and made films in San Francisco from the mid-’80s through the mid-’90s, bridging the experimental film and documentary worlds. Several of her pioneering works from that period, including \u003cem>The House of Science: a museum of false facts\u003c/em> (1991), are included in the Roxie’s accompanying shorts program “Inquiries Into Self and Others.” A second collection, “Profiles in Courage,” showcases Sachs’ recent work, including \u003cem>A Month of Single Frames (for Barbara Hammer)\u003c/em>.\u003c/p>\n\u003cp>Sachs’s films are, generally, intentionally unpolished, willfully undercutting the popular presumption that the job of documentaries is to provide answers. \u003cem>Film About a Father Who\u003c/em> excavates her (now-elderly) dad’s messy, lifelong love life through a pastiche of loose ends, unanswered questions and unresolved emotions. The film imperceptibly gets deeper and darker as it goes, ultimately amassing the power of an indictment.\u003c/p>\n\u003cfigure id=\"attachment_13892734\" class=\"wp-caption aligncenter\" style=\"max-width: 1743px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions.jpg\" alt=\"\" width=\"1743\" height=\"980\" class=\"size-full wp-image-13892734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions.jpg 1743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-1536x864.jpg 1536w\" sizes=\"(max-width: 1743px) 100vw, 1743px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Irene Gustafson’s ‘reimagining the city, as our own.’ \u003ccite>(ABD Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfurbanfilmfest.com/2021/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Urban Film Fest\u003c/a>\u003cbr />\nFeb. 14–21\u003cbr />\nOnline\u003c/p>\n\u003cp>Film festivals continue to test and tweak virtual models, trying to conjure the group experience of live screenings and the connective threads of community. The first is a hard nut for anyone—even Sundance—to crack. This year’s SF Urban Film Fest, though, has mastered the second challenge, of bringing people together online to brainstorm on issues and seed solutions.\u003c/p>\n\u003cp>The theme of this year’s edition is “Wisdom Lives in Places,” which evokes the street-level experience and expertise on offer in the films as well as the accompanying panel discussions. The program “People-Led Solutions: Models of our Shared Future” centers on evictions and homelessness and features local filmmaker Irene Gustafson’s collaboration with the Tenderloin ensemble Skywatchers, \u003cem>reimagining the city, as our own\u003c/em>. An inspiring group of activists and advocates convenes after the film program.\u003c/p>\n\u003cp>Who can resist an event called “Times Like These: An Inflection Point for Food & Our Cities”? The film component includes \u003cem>Aaron Lim\u003c/em>, Anson Ho’s uplifting short doc about a young man doing his part and more to keep Chinatown restaurants going through the pandemic. The diverse group talking turkey following the films includes La Cocina Program Director Geetika Agrawal. Bring \u003cem>your\u003c/em> wisdom; join the conversation.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s offerings commemorate the intersection of Valentine’s Day and Black History Month with an overlap of class reunion. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Show Me What You Got\u003c/strong>\u003c/em>\u003cbr />\nFeb. 12, 14–15\u003cbr />\n\u003ca href=\"https://www.levelforward.live/smwyg\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>Svetlana Cvetko lives in L.A. and shoots all over the world, but her roots as a filmmaker are in the Bay Area. After gravitating to San Francisco from the former Yugoslavia several years ago, Cvetko took film classes and turned her eye from photography to cinematography. She was a quick study, making narrative shorts while shooting local docs like Charles Ferguson’s Oscar-winning \u003cem>Inside Job\u003c/em>, Jacob Kornbluth’s \u003cem>Inequality for All\u003c/em> and Jason Cohen’s \u003cem>Silicon Cowboys\u003c/em>.\u003c/p>\n\u003cp>Cvetko’s wonderful and wise second feature as a director, \u003cem>Show Me What You Got\u003c/em>, is infused with an L.A. vibe filtered through the French New Wave. Shot by Cvetko in joyous, handheld black-and-white, the movie depicts a ménage à trois between a barista-slash-artist (Cristina Rambaldi), the son of an Italian TV soaps star (Mattia Minasi) and a would-be actor (Neyssan Falahi) postponing his return to Tehran.\u003c/p>\n\u003cp>A seductive yet mature study of love, freedom and responsibility, \u003cem>Show Me What You Got\u003c/em> returns for a virtual run after screening at the Mill Valley Film Festival in 2019. Play dates are limited, so hurry and schedule your play date (pun intended).\u003c/p>\n\u003cfigure id=\"attachment_13892733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13892733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Film-About-a-Father-Who-dir-Lynne-Sachs-w-Ira-Sachs-Sr-1-1-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Lynne Sachs’ ‘Film About A Father Who.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Films of Lynne Sachs\u003c/strong>\u003cbr />\nOpens Feb. 12\u003cbr />\n\u003ca href=\"https://www.roxie.com/the-films-of-lynne-sachs/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>\u003c/p>\n\u003cp>“This is not a portrait,” states Lynne Sachs, near the end of \u003cem>Film About a Father Who\u003c/em>, after the last in a string of revelations. “This is not a self-portrait. This is my reckoning with the conundrum of our asymmetry.” Shot on a procession of film and video formats from 1965 though 2019, Sachs’ fascinating new film isn’t therapy, either.\u003c/p>\n\u003cp>Sachs studied and made films in San Francisco from the mid-’80s through the mid-’90s, bridging the experimental film and documentary worlds. Several of her pioneering works from that period, including \u003cem>The House of Science: a museum of false facts\u003c/em> (1991), are included in the Roxie’s accompanying shorts program “Inquiries Into Self and Others.” A second collection, “Profiles in Courage,” showcases Sachs’ recent work, including \u003cem>A Month of Single Frames (for Barbara Hammer)\u003c/em>.\u003c/p>\n\u003cp>Sachs’s films are, generally, intentionally unpolished, willfully undercutting the popular presumption that the job of documentaries is to provide answers. \u003cem>Film About a Father Who\u003c/em> excavates her (now-elderly) dad’s messy, lifelong love life through a pastiche of loose ends, unanswered questions and unresolved emotions. The film imperceptibly gets deeper and darker as it goes, ultimately amassing the power of an indictment.\u003c/p>\n\u003cfigure id=\"attachment_13892734\" class=\"wp-caption aligncenter\" style=\"max-width: 1743px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions.jpg\" alt=\"\" width=\"1743\" height=\"980\" class=\"size-full wp-image-13892734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions.jpg 1743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/reimaginingthecityasourown_ABDProductions-1536x864.jpg 1536w\" sizes=\"(max-width: 1743px) 100vw, 1743px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Irene Gustafson’s ‘reimagining the city, as our own.’ \u003ccite>(ABD Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfurbanfilmfest.com/2021/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Urban Film Fest\u003c/a>\u003cbr />\nFeb. 14–21\u003cbr />\nOnline\u003c/p>\n\u003cp>Film festivals continue to test and tweak virtual models, trying to conjure the group experience of live screenings and the connective threads of community. The first is a hard nut for anyone—even Sundance—to crack. This year’s SF Urban Film Fest, though, has mastered the second challenge, of bringing people together online to brainstorm on issues and seed solutions.\u003c/p>\n\u003cp>The theme of this year’s edition is “Wisdom Lives in Places,” which evokes the street-level experience and expertise on offer in the films as well as the accompanying panel discussions. The program “People-Led Solutions: Models of our Shared Future” centers on evictions and homelessness and features local filmmaker Irene Gustafson’s collaboration with the Tenderloin ensemble Skywatchers, \u003cem>reimagining the city, as our own\u003c/em>. An inspiring group of activists and advocates convenes after the film program.\u003c/p>\n\u003cp>Who can resist an event called “Times Like These: An Inflection Point for Food & Our Cities”? The film component includes \u003cem>Aaron Lim\u003c/em>, Anson Ho’s uplifting short doc about a young man doing his part and more to keep Chinatown restaurants going through the pandemic. The diverse group talking turkey following the films includes La Cocina Program Director Geetika Agrawal. Bring \u003cem>your\u003c/em> wisdom; join the conversation.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift Announces Remake of 'Fearless,' Due in April",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> has kept famously busy in pandemic times: On the heels of 2019’s \u003cem>Lover\u003c/em> and a 2020 Netflix documentary, she’s released two albums in the past seven months alone, all while fighting a public battle for control of her past recordings. Now, she’s got another announcement: She’s releasing a rerecorded and expanded version of her 2008 album \u003cem>Fearless\u003c/em> in April, titled \u003cem>Fearless (Taylor’s Version)\u003c/em>. At midnight Friday, she’ll drop its first single, “Love Story (Taylor’s Version).” It’s one of 26 songs slated for the \u003cem>Fearless\u003c/em> remake, which will include re-recordings of not only the original album, but also \u003cem>Fearless\u003c/em>‘ many outtakes and bonus tracks. Six have never been released in any form. In a Twitter post Thursday morning, Swift provided some context for the new recordings.\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/1359854050544615425\u003c/p>\n\u003cp>“I’ve spoken a lot about why I’m remaking my first six albums,” she wrote, “but the way I’ve chosen to do this will hopefully help illuminate where I’m coming from. Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work. For example, only I know which songs I wrote that almost made the \u003cem>Fearless\u003c/em> album. Songs I absolutely adored, but were held back for different reasons (don’t want too many breakup songs, don’t want too many down tempo songs, can’t fit that many songs on a physical CD).” [aside postid='arts_13874070']\u003c/p>\n\u003cp>Swift has feuded publicly with her former label, Big Machine, which released her first six albums, including \u003cem>Fearless\u003c/em>. The singer \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">announced in 2019\u003c/a> that she’d record and release new versions of that music as a way of regaining control after Big Machine was sold to an umbrella company owned by Scooter Braun, an industry figure with whom Swift has had many public differences.\u003c/p>\n\u003cp>The original \u003cem>Fearless\u003c/em> won Album of the Year at the 2009 Grammy Awards. Next month, she’ll learn if 2020’s \u003cem>folklore\u003c/em> meets the same fate: That record earned her six Grammy nominations, including Album of the Year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8xg3vE8Ie_E\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift+Announces+Remake+Of+%27Fearless%2C%27+Due+In+April&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I’ve spoken a lot about why I’m remaking my first six albums,” she wrote, “but the way I’ve chosen to do this will hopefully help illuminate where I’m coming from. Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work. For example, only I know which songs I wrote that almost made the \u003cem>Fearless\u003c/em> album. Songs I absolutely adored, but were held back for different reasons (don’t want too many breakup songs, don’t want too many down tempo songs, can’t fit that many songs on a physical CD).” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift has feuded publicly with her former label, Big Machine, which released her first six albums, including \u003cem>Fearless\u003c/em>. The singer \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">announced in 2019\u003c/a> that she’d record and release new versions of that music as a way of regaining control after Big Machine was sold to an umbrella company owned by Scooter Braun, an industry figure with whom Swift has had many public differences.\u003c/p>\n\u003cp>The original \u003cem>Fearless\u003c/em> won Album of the Year at the 2009 Grammy Awards. Next month, she’ll learn if 2020’s \u003cem>folklore\u003c/em> meets the same fate: That record earned her six Grammy nominations, including Album of the Year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\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/8xg3vE8Ie_E'\n title='//www.youtube.com/embed/8xg3vE8Ie_E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift+Announces+Remake+Of+%27Fearless%2C%27+Due+In+April&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Director Shaka King's Long Journey to 'Judas and the Black Messiah'",
"headTitle": "Director Shaka King’s Long Journey to ‘Judas and the Black Messiah’ | KQED",
"content": "\u003cp>As the current chairman of the Black Panther Party Cubs, Fred Hampton, Jr. was guarded when he heard a studio wanted to make a movie about his late father, Fred Hampton. With good reason, too. The elder Hampton was the fiery and charismatic chairman of the Illinois Black Panther Party. The FBI had its eye on him through a program called COINTELPRO, where they would infiltrate groups like the Black Panthers and use information to launch disinformation smear campaigns.\u003c/p>\n\u003cp>Hampton was in the midst of corralling disparate, multi-racial groups under the banner of the Rainbow Coalition. The idea was to organize these groups to fight poverty and police brutality. Then, Chicago police shot and killed Hampton and another member of the Black Panther Party in an early morning raid. In an interview, Hampton, Jr. pointed out others have tried to make this movie without coming correct—no knowledge or respect for the legacy of Hampton and the Illinois Black Panther party. “Legacy,” he said, “is more important than our life.”\u003c/p>\n\u003cp>This is what director Shaka King was thinking about when he signed on to make \u003ca href=\"https://www.youtube.com/watch?v=sSjtGqRXQ9Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>,\u003c/a> the new movie about the life of Fred Hampton through the eyes of William O’Neal—the man who infiltrated the Black Panthers on behalf of the FBI. The pitch he got from the movie’s co-writers, Kenny and Keith Lucas, was a movie about Hampton and O’Neal that was like Martin Scorsese’s gangster film, \u003cem>The Departed, \u003c/em>but set inside the world of COINTELPRO. It didn’t take much beyond that. “I was like, I see it. I’m done. I’m in,” said King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sSjtGqRXQ9Y\u003c/p>\n\u003cp>The result is a tense, thrilling movie that draws as much from \u003cem>The Talented Mr. Ripley\u003c/em> as it does \u003cem>The Departed, \u003c/em>packaging Hampton’s radical politics beneath a sheen of high budget movie making. Dominique Fishback, who plays Hampton’s partner Deborah Johnson (now Akua Njeri), says she trusted King with Hampton’s legacy. “His confidence and ability to make an authentic story, but not at the cost of somebody’s life,” she said helped her feel more comfortable to make the acting choices she made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This big, complex movie with stakes bigger than any one person’s life is a big jump from King’s first movie, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=yLOofv38K6Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Newlyweeds\u003c/em>.\u003c/a> That movie tells the story of a young couple in Brooklyn who smoke a lot of weed. It’s tender and funny, hitting the same notes as movies from other indie darling directors such as Joe Swanberg or the Duplass brothers. And it got decent buzz when it went around the festival circuit. The Film Independent Spirit Awards gave King the Someone to Watch Award, which came with a $25,000 grant. [aside postid='arts_13851520']\u003c/p>\n\u003cp>But after that initial fanfare, King struggled to find buyers for the movie. “I was so depressed after making \u003cem>Newlyweeds\u003c/em>,” he said. It was a movie starring two Black actors who no one knew. “And at that time, that was deemed worthless,” said King.\u003c/p>\n\u003cp>2013 wasn’t that long ago. But it was before what a friend of King’s ironically dubbed the Black Excellence Industrial Complex, when movie studios realized you could make a lot of money releasing films by and starring Black people—\u003ca href=\"https://www.npr.org/sections/codeswitch/2014/12/27/373465623/for-hollywood-selma-is-a-new-kind-of-civil-rights-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma, \u003c/em>\u003c/a>\u003ca href=\"https://www.npr.org/2016/10/19/498395257/for-films-creators-moonlight-provided-space-to-explore-a-painful-past\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight,\u003c/em>\u003c/a> \u003ca href=\"https://www.npr.org/2018/02/15/585702642/director-ryan-coogler-says-black-panther-brought-him-closer-to-his-roots\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> and so on. The experience with \u003cem>Newlyweeds \u003c/em>burnt King out on the idea of making another feature film. “I stopped caring,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13892641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/rev-1-ufhp-05823r_high_res_jpeg_custom-e53612ac8bf593766aaa58a4c8bdd39c488390a7-800x534.jpe\" alt=\"Director Shaka King on the set of 'Judas and the Black Messiah.' The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O'Neal—the man who infiltrated the group on behalf of the FBI.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Director Shaka King on the set of ‘Judas and the Black Messiah.’ The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O’Neal—the man who infiltrated the group on behalf of the FBI. \u003ccite>(Glen Wilson/2021 Warner Bros. Entertainment Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Judas and the Black Messiah\u003c/em> producer, Charles D. King (no relation), didn’t know that about director Shaka King. As the head of Macro, which produces movies and TV shows by people of color including \u003cem>Judas\u003c/em>, Charles King is possibly one of the biggest names in the Black Excellence Industrial Complex. From his perch as producer, he’s seen young directors struggle with getting the momentum going for a second movie—particularly women and people of color. So he wasn’t surprised King felt the same way.\u003c/p>\n\u003cp>“It was before the \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/02/25/468002136/-oscarssowhite-forsolong\" target=\"_blank\" rel=\"noopener noreferrer\">#Oscarssowhite\u003c/a> moment of 2015,” said King. “A lot’s happened since then. There’s much more of an openness and I think an understanding of the business opportunity there.”\u003c/p>\n\u003cp>After \u003cem>Newlyweeds\u003c/em>, what tethered director King to the idea of moviemaking was a kind of silly, kind of outrageous idea he had rolling around in his head for a short satire, titled \u003ca href=\"https://vimeo.com/117064492\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mulignans, \u003c/em>\u003c/a>after the Italian slur for Black people that used to be heard frequently on the streets of Brooklyn. In it, King and two other actors play three Black guys who talk like they’re out of the Italian mobster movies King has such a fondness for. It was slightly inspired by his time growing up in a mostly Black part of Brooklyn, before going to school in South Brooklyn. There, he noticed that everyone—the Irish kids, the Greek kids, the Jewish kids, the Asian kids—all talked like the Italian kids.\u003c/p>\n\u003cp>“And those kids were hilarious,” said King. “They were profane, they were quick witted—we weren’t friends—but I could appreciate their sense of humor.”\u003c/p>\n\u003cp>The movie has the spirit and feel of hanging out with your friends while it concisely makes points about gender politics, race and gentrification. It reminded King of the sheer fun of making something just to see if you can. “That movie saved me,” he said. “It saved me.” [aside postid='arts_13888332']\u003c/p>\n\u003cp>King brought that energy to the challenge of making \u003cem>Judas and the Black Messiah, \u003c/em>a movie about a Black radical anti-capitalist, within the very capitalist world of Hollywood. “I’m completely aware of the myriad of contradictions that exist not only to try and make a movie like this, but me just wanting to have the kind of career I want to have, and the politics that I have and all of those co-existing,” he said.\u003c/p>\n\u003cp>Fred Hampton, Jr. was a consultant for the movie and on set during production. When I spoke with him, he said he was only just now able to watch the movie through the eyes of a regular audience member. He liked it well enough, though he wished they could’ve gotten some more of the politics in there. Then he smiled and said, “a revolutionary is never satisfied.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Director+Shaka+King%27s+Journey+From+%27Newlyweeds%27+To+%27The+Black+Messiah%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the current chairman of the Black Panther Party Cubs, Fred Hampton, Jr. was guarded when he heard a studio wanted to make a movie about his late father, Fred Hampton. With good reason, too. The elder Hampton was the fiery and charismatic chairman of the Illinois Black Panther Party. The FBI had its eye on him through a program called COINTELPRO, where they would infiltrate groups like the Black Panthers and use information to launch disinformation smear campaigns.\u003c/p>\n\u003cp>Hampton was in the midst of corralling disparate, multi-racial groups under the banner of the Rainbow Coalition. The idea was to organize these groups to fight poverty and police brutality. Then, Chicago police shot and killed Hampton and another member of the Black Panther Party in an early morning raid. In an interview, Hampton, Jr. pointed out others have tried to make this movie without coming correct—no knowledge or respect for the legacy of Hampton and the Illinois Black Panther party. “Legacy,” he said, “is more important than our life.”\u003c/p>\n\u003cp>This is what director Shaka King was thinking about when he signed on to make \u003ca href=\"https://www.youtube.com/watch?v=sSjtGqRXQ9Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>,\u003c/a> the new movie about the life of Fred Hampton through the eyes of William O’Neal—the man who infiltrated the Black Panthers on behalf of the FBI. The pitch he got from the movie’s co-writers, Kenny and Keith Lucas, was a movie about Hampton and O’Neal that was like Martin Scorsese’s gangster film, \u003cem>The Departed, \u003c/em>but set inside the world of COINTELPRO. It didn’t take much beyond that. “I was like, I see it. I’m done. I’m in,” said King.\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/sSjtGqRXQ9Y'\n title='//www.youtube.com/embed/sSjtGqRXQ9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The result is a tense, thrilling movie that draws as much from \u003cem>The Talented Mr. Ripley\u003c/em> as it does \u003cem>The Departed, \u003c/em>packaging Hampton’s radical politics beneath a sheen of high budget movie making. Dominique Fishback, who plays Hampton’s partner Deborah Johnson (now Akua Njeri), says she trusted King with Hampton’s legacy. “His confidence and ability to make an authentic story, but not at the cost of somebody’s life,” she said helped her feel more comfortable to make the acting choices she made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This big, complex movie with stakes bigger than any one person’s life is a big jump from King’s first movie, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=yLOofv38K6Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Newlyweeds\u003c/em>.\u003c/a> That movie tells the story of a young couple in Brooklyn who smoke a lot of weed. It’s tender and funny, hitting the same notes as movies from other indie darling directors such as Joe Swanberg or the Duplass brothers. And it got decent buzz when it went around the festival circuit. The Film Independent Spirit Awards gave King the Someone to Watch Award, which came with a $25,000 grant. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But after that initial fanfare, King struggled to find buyers for the movie. “I was so depressed after making \u003cem>Newlyweeds\u003c/em>,” he said. It was a movie starring two Black actors who no one knew. “And at that time, that was deemed worthless,” said King.\u003c/p>\n\u003cp>2013 wasn’t that long ago. But it was before what a friend of King’s ironically dubbed the Black Excellence Industrial Complex, when movie studios realized you could make a lot of money releasing films by and starring Black people—\u003ca href=\"https://www.npr.org/sections/codeswitch/2014/12/27/373465623/for-hollywood-selma-is-a-new-kind-of-civil-rights-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma, \u003c/em>\u003c/a>\u003ca href=\"https://www.npr.org/2016/10/19/498395257/for-films-creators-moonlight-provided-space-to-explore-a-painful-past\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight,\u003c/em>\u003c/a> \u003ca href=\"https://www.npr.org/2018/02/15/585702642/director-ryan-coogler-says-black-panther-brought-him-closer-to-his-roots\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> and so on. The experience with \u003cem>Newlyweeds \u003c/em>burnt King out on the idea of making another feature film. “I stopped caring,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13892641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/rev-1-ufhp-05823r_high_res_jpeg_custom-e53612ac8bf593766aaa58a4c8bdd39c488390a7-800x534.jpe\" alt=\"Director Shaka King on the set of 'Judas and the Black Messiah.' The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O'Neal—the man who infiltrated the group on behalf of the FBI.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Director Shaka King on the set of ‘Judas and the Black Messiah.’ The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O’Neal—the man who infiltrated the group on behalf of the FBI. \u003ccite>(Glen Wilson/2021 Warner Bros. Entertainment Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Judas and the Black Messiah\u003c/em> producer, Charles D. King (no relation), didn’t know that about director Shaka King. As the head of Macro, which produces movies and TV shows by people of color including \u003cem>Judas\u003c/em>, Charles King is possibly one of the biggest names in the Black Excellence Industrial Complex. From his perch as producer, he’s seen young directors struggle with getting the momentum going for a second movie—particularly women and people of color. So he wasn’t surprised King felt the same way.\u003c/p>\n\u003cp>“It was before the \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/02/25/468002136/-oscarssowhite-forsolong\" target=\"_blank\" rel=\"noopener noreferrer\">#Oscarssowhite\u003c/a> moment of 2015,” said King. “A lot’s happened since then. There’s much more of an openness and I think an understanding of the business opportunity there.”\u003c/p>\n\u003cp>After \u003cem>Newlyweeds\u003c/em>, what tethered director King to the idea of moviemaking was a kind of silly, kind of outrageous idea he had rolling around in his head for a short satire, titled \u003ca href=\"https://vimeo.com/117064492\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mulignans, \u003c/em>\u003c/a>after the Italian slur for Black people that used to be heard frequently on the streets of Brooklyn. In it, King and two other actors play three Black guys who talk like they’re out of the Italian mobster movies King has such a fondness for. It was slightly inspired by his time growing up in a mostly Black part of Brooklyn, before going to school in South Brooklyn. There, he noticed that everyone—the Irish kids, the Greek kids, the Jewish kids, the Asian kids—all talked like the Italian kids.\u003c/p>\n\u003cp>“And those kids were hilarious,” said King. “They were profane, they were quick witted—we weren’t friends—but I could appreciate their sense of humor.”\u003c/p>\n\u003cp>The movie has the spirit and feel of hanging out with your friends while it concisely makes points about gender politics, race and gentrification. It reminded King of the sheer fun of making something just to see if you can. “That movie saved me,” he said. “It saved me.” \u003c/p>\u003c/div>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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