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"disqusTitle": "Bay Area Public Hospital closure explored in short documentary 'The Desert'",
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"content": "\u003cp>\u003cem>The Desert, \u003c/em>directed by Bo Kovitz is an intimate look into the aftermath of a major public hospital closure in the San Francisco Bay Area, one of the wealthiest regions in the country. [pullquote size=\"medium\" align=\"right\"]\u003ca href=\"https://www.youtube.com/watch?v=1bjKcfSmVxU\">Watch The Desert By. Bo Kovitz \u003c/a> [/pullquote]Doctors Medical Center in San Pablo was the only full-service public hospital for more than 250,000 residents in West Contra Costa County. Now, the nearest public hospital is more than 15 miles away.\u003c/p>\n\u003cfigure id=\"attachment_3187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-3187 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locals observe as the Doctors Medical Center is torn down leaving the nearest public hospital 15 miles away. Film still from The Desert.\u003c/figcaption>\u003c/figure>\n\u003cp>Following patients and frontline workers on the ground, \u003cem>The Desert\u003c/em> reveals the multifaceted impact of the loss of a major safety net institution as those in the community travel further and overcome barriers to care. \u003cem>The Desert\u003c/em> begins more than three years after Doctors Medical Center closed in 2015. Across the street from the vacant hospital, we meet an urgent care staff, many of whom worked at the hospital’s emergency department for years. Millie Callen, a non-emergency clinical worker near the previously existing Doctors Medical Center, who describes the influx of patients and the limited resources to meet all the needs of those who come in, some of whom think the clinic is an emergency department.\u003cimg class=\"wp-image-3188 size-medium\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-800x419.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-1020x534.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-768x402.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-1536x804.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>First responders take a call, in The DesertOf the many issues that come with a hospital closure, clinic workers and doctors also cite the unavoidable outcome that comes from serving mostly uninsured and Medi-cal/Medicare patients: the gradual shutdown of major hospital departments over time, and the sacrifices many of the staff made to keep the hospital alive, and the ultimate burden on the patients to find help elsewhere.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Directors Statement\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_3189\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-3189 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Bo Kovitz\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>When I began research about Doctors Medical Center, it struck me that it’s not rare in our country for a hospital to close. I read about hospitals closing in rural communities and others moving out of poor, predominantly black and brown neighborhoods into richer ones. I wanted to capture the lived experience and deepen our understanding beyond just reading words on a page. I wanted to see and hear the faces and voices of the people directly impacted by the loss of an institution so many of us take for granted.\u003c/p>\n\u003cp>I knew this film needed to be a 360° view of the community. It was obvious to look for the patients who were impacted but it became clearer every day that the impact is uniquely felt too by the frontline workers — the first responders, the doctors, nurses, clinicians and staffers. Those on the ground, with direct experience navigating the hospital desert, hold the most valuable information and perspective. But their lives and immediate expertise are seldom seen or heard, which I feel is changing now during COVID-19 as people turn to those in the eye of the storm for insight.\u003c/p>\n\u003cp>It’s imperative now more than ever to take a hard and critical look at the cracks in the American health care system. This film is a deep plunge into one community’s grappling with a system that forced a hospital to fail. My hope for \u003cem>The Desert\u003c/em> is that it will encourage people to look in their own backyard and think of the unseen but real lives adapting every day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside label=\"More on The Desert and Health Care Bias\" link1=\"\u003ca href=\"https://www.thedesertfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> https://www.thedesertfilm.com/\u003c/a>\" link2=\"\u003ca href=\"https://www.kqed.org/news/11826872/all-you-want-is-to-be-believed-the-impacts-of-unconscious-bias-in-health-care\">https://www.kqed.org/news/11826872/all-you-want-is-to-be-believed-the-impacts-of-unconscious-bias-in-health-care\u003c/a>]\u003c/p>\n\u003ch3 style=\"text-align: left\">Production Credits\u003c/h3>\n\u003cp style=\"text-align: left\">Director, director of photography, editor - Bo Kovitz\u003c/p>\n\u003cp style=\"text-align: left\">Additional camera - Sarah Cahlan, Lucas Guilkey, Lisa Hornak\u003c/p>\n\u003cp style=\"text-align: left\">Sound recordists - Sarah Cahlan, Jean-Philippe Dobrin, Lucas Guilkey, Hao Guo, Sybil Patten\u003c/p>\n\u003cp style=\"text-align: left\">Translations - Nuria Marquez Martinez, Betty Marquez Rosales, JoeBill Munoz\u003c/p>\n\u003cp style=\"text-align: left\">Advisors - Dawn Porter, Carrie Lozano, Mike Shen, Andres Cediel, Kara Platoni, Tina Sacks, Chris O’ Dea, RIck Johnson\u003c/p>\n\u003cp style=\"text-align: left\">Composers - William Ryan Fritch, Jacob Bloomfield-Misrach, William Sammons\u003c/p>\n\u003cp style=\"text-align: left\">Post Production Sound - Berkeley Sound Artists\u003c/p>\n\u003cp style=\"text-align: left\">Sound Supervisor - Jacob Bloomfield-Misrach\u003c/p>\n\u003cp style=\"text-align: left\">Rerecording Mixer - Bijan Sharifi\u003c/p>\n\u003cp style=\"text-align: left\">Sound Designer - William Sammons\u003c/p>\n\u003cp style=\"text-align: left\">Sound Effects Editor - Ryan Crowther\u003c/p>\n\u003cp style=\"text-align: left\">Dialogue Editor - Alyssa Nevarez\u003c/p>\n\u003cp style=\"text-align: left\">Color Correction - Chris O’ Dea\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "After a major public hospital in the Bay Area closes, patients and frontline workers must navigate a hospital desert and adapt to limited options, longer distances and backlogged systems of care. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Desert, \u003c/em>directed by Bo Kovitz is an intimate look into the aftermath of a major public hospital closure in the San Francisco Bay Area, one of the wealthiest regions in the country. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Doctors Medical Center in San Pablo was the only full-service public hospital for more than 250,000 residents in West Contra Costa County. Now, the nearest public hospital is more than 15 miles away.\u003c/p>\n\u003cfigure id=\"attachment_3187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-3187 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_01-compressor.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locals observe as the Doctors Medical Center is torn down leaving the nearest public hospital 15 miles away. Film still from The Desert.\u003c/figcaption>\u003c/figure>\n\u003cp>Following patients and frontline workers on the ground, \u003cem>The Desert\u003c/em> reveals the multifaceted impact of the loss of a major safety net institution as those in the community travel further and overcome barriers to care. \u003cem>The Desert\u003c/em> begins more than three years after Doctors Medical Center closed in 2015. Across the street from the vacant hospital, we meet an urgent care staff, many of whom worked at the hospital’s emergency department for years. Millie Callen, a non-emergency clinical worker near the previously existing Doctors Medical Center, who describes the influx of patients and the limited resources to meet all the needs of those who come in, some of whom think the clinic is an emergency department.\u003cimg class=\"wp-image-3188 size-medium\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-800x419.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-1020x534.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-768x402.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor-1536x804.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/desert_04-wide-compressor.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>First responders take a call, in The DesertOf the many issues that come with a hospital closure, clinic workers and doctors also cite the unavoidable outcome that comes from serving mostly uninsured and Medi-cal/Medicare patients: the gradual shutdown of major hospital departments over time, and the sacrifices many of the staff made to keep the hospital alive, and the ultimate burden on the patients to find help elsewhere.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Directors Statement\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_3189\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-3189 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/29/2020/07/Kovitz_Headshot-compressor.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Bo Kovitz\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>When I began research about Doctors Medical Center, it struck me that it’s not rare in our country for a hospital to close. I read about hospitals closing in rural communities and others moving out of poor, predominantly black and brown neighborhoods into richer ones. I wanted to capture the lived experience and deepen our understanding beyond just reading words on a page. I wanted to see and hear the faces and voices of the people directly impacted by the loss of an institution so many of us take for granted.\u003c/p>\n\u003cp>I knew this film needed to be a 360° view of the community. It was obvious to look for the patients who were impacted but it became clearer every day that the impact is uniquely felt too by the frontline workers — the first responders, the doctors, nurses, clinicians and staffers. Those on the ground, with direct experience navigating the hospital desert, hold the most valuable information and perspective. But their lives and immediate expertise are seldom seen or heard, which I feel is changing now during COVID-19 as people turn to those in the eye of the storm for insight.\u003c/p>\n\u003cp>It’s imperative now more than ever to take a hard and critical look at the cracks in the American health care system. This film is a deep plunge into one community’s grappling with a system that forced a hospital to fail. My hope for \u003cem>The Desert\u003c/em> is that it will encourage people to look in their own backyard and think of the unseen but real lives adapting every day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3 style=\"text-align: left\">Production Credits\u003c/h3>\n\u003cp style=\"text-align: left\">Director, director of photography, editor - Bo Kovitz\u003c/p>\n\u003cp style=\"text-align: left\">Additional camera - Sarah Cahlan, Lucas Guilkey, Lisa Hornak\u003c/p>\n\u003cp style=\"text-align: left\">Sound recordists - Sarah Cahlan, Jean-Philippe Dobrin, Lucas Guilkey, Hao Guo, Sybil Patten\u003c/p>\n\u003cp style=\"text-align: left\">Translations - Nuria Marquez Martinez, Betty Marquez Rosales, JoeBill Munoz\u003c/p>\n\u003cp style=\"text-align: left\">Advisors - Dawn Porter, Carrie Lozano, Mike Shen, Andres Cediel, Kara Platoni, Tina Sacks, Chris O’ Dea, RIck Johnson\u003c/p>\n\u003cp style=\"text-align: left\">Composers - William Ryan Fritch, Jacob Bloomfield-Misrach, William Sammons\u003c/p>\n\u003cp style=\"text-align: left\">Post Production Sound - Berkeley Sound Artists\u003c/p>\n\u003cp style=\"text-align: left\">Sound Supervisor - Jacob Bloomfield-Misrach\u003c/p>\n\u003cp style=\"text-align: left\">Rerecording Mixer - Bijan Sharifi\u003c/p>\n\u003cp style=\"text-align: left\">Sound Designer - William Sammons\u003c/p>\n\u003cp style=\"text-align: left\">Sound Effects Editor - Ryan Crowther\u003c/p>\n\u003cp style=\"text-align: left\">Dialogue Editor - Alyssa Nevarez\u003c/p>\n\u003cp style=\"text-align: left\">Color Correction - Chris O’ Dea\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Out on the Inside: Transgender Women Share Stories From a California Prison",
"title": "Out on the Inside: Transgender Women Share Stories From a California Prison",
"headTitle": "Season 15 | Truly CA | Truly CA | KQED Arts",
"content": "\u003cp>\u003cem>Updated Jan. 14, 2021\u003c/em>\u003cbr>\n\u003cem>On Jan. 1, 2021, \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200SB132\">Senate Bill 132\u003c/a> went into effect in California: The \"Transgender Respect, Agency, and Dignity Act,\" authored by state Sen. Scott Wiener, allows for incarcerated people to “be housed at a correctional facility designated for men or women based on the individual’s preference.”\u003c/em>\u003c/p>\n\u003cp>I arrived at a state prison in Vacaville, California, with a cart full of video equipment and two fellow reporters from KQED. We had come to meet with a group of transgender inmates and learn about their experience behind bars.\u003c/p>\n\u003cp>Prison is a challenging environment by any measure, but for the roughly two dozen transgender women living here alongside nearly 2500 men, there are unique challenges — not just for the women, but also for the prison staff responsible for keeping everyone safe.\u003c/p>\n\u003cp>The California prison system (like most) has long been set up along traditional gender lines — there are prisons for men and other ones for women, with a current total of 35 institutions located in every region of the state. But in recent years, the California Department of Corrections and Rehabilitation (CDCR) has had to contend with a growing number of offenders who do not fit into a binary gender classification system.\u003c/p>\n\u003cp>Take Jazzie Paradize Scott, for example, who said she’s been taking hormones since she was 16.\u003c/p>\n\u003cp>“I've always had my mom and my father's approval of being a trans woman,” she said. “It was just always about getting my life together and stop making so many careless mistakes. Like this — ending up in prison.”\u003c/p>\n\u003cfigure id=\"attachment_3172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3172\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-800x450.jpg\" alt=\"Jazzie Paradize Scott displays her transgender ID card, issued by the California Department of Corrections and Rehabilitation. The CDCR has designated certain prisons as hubs for transgender inmates, where support services and resources can be clustered.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzie Paradize Scott displays her transgender ID card, issued by the California Department of Corrections and Rehabilitation. The CDCR has designated certain prisons as hubs for transgender inmates, where support services and resources can be clustered. \u003ccite>(Monica Lam/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CDCR has designated certain prisons as hubs for transgender inmates, where support services and resources can be clustered. The prison I visited, California Medical Facility (CMF), is one of those hubs, and it’s also a prison where inmates with medical and mental health needs are placed for better access to health care.\u003c/p>\n\u003cp>Scott is on her third tour of prison and wants to put what remains of her time inside to good use. She was elected to represent other transgender prisoners on the inmate advisory council and successfully lobbied to create a weekly workout club for transgender women, complete with a prison staffer as a fitness coach.\u003c/p>\n\u003cp>“It took a long journey with a long fight, but I was able to work with staff on talking to the right people to get it done,” Scott said.\u003c/p>\n\u003cp>Today’s workout began with a simple, brisk walk around the perimeter of the gym, with a couple of women following along in their wheelchairs. While one group pedaled stationary bikes, another group played a high energy game of half-court basketball that left them drenched in sweat. Afterwards, Scott led the group through a series of stretches to cool down.\u003c/p>\n\u003cfigure id=\"attachment_3169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3169\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-800x450.jpg\" alt=\"Transgender prisoners at California Medical Facility in Vacaville successfully lobbied to create a weekly workout club for the prison's transgender women, complete with a prison staffer as a fitness coach.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Transgender prisoners at California Medical Facility in Vacaville successfully lobbied to create a weekly workout club for the prison's transgender women, complete with a prison staffer as a fitness coach. \u003ccite>(Sruti Mamidanna/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The point of the workout club, said Scott, was “to be able to let our hair down and wear our makeup and our gym shorts” in a safe environment. In fact, while they were inside the gym, the women could take off their prison blues and wear sports bras, tank tops, and leggings. Once the workout was over, they had to once again don their prison-issued pants and loose-fitting blue shirts before exiting the gym.\u003c/p>\n\u003ch3>‘I Never Saw Myself as a Guy’\u003c/h3>\n\u003cp>Gender identity and expression inside prison is more than a matter of getting to dress as one would like. Transgender people face harassment, hatred and violence both outside and inside prison.\u003c/p>\n\u003cp>“Since I was a child, I felt like I was a girl,” said Yekaterina Wesa Patience when we sat down to talk. “No matter what nobody told me, I just never, I never saw myself as a guy.”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Yekaterina Wesa Patience\"]“I immediately cut all my hair off, grew facial hair and never grew it long again. I had to act like the toughest person I could find.”[/pullquote]\u003c/p>\n\u003cp>Her family, she said, could not accept that.\u003c/p>\n\u003cp>“My father literally would beat me, sometimes every day, just to get me to act like a boy — to toughen me up,” she said.\u003c/p>\n\u003cp>By 14, Patience said she had left home, and before long, ended up in jail. She’s been in prison since 1996 for first-degree murder, a crime she committed when she was 18.\u003c/p>\n\u003cp>Inside prison, the violence continued. Patience said she was raped twice by other prisoners. In response, she tried to hide her identity.\u003c/p>\n\u003cp>“I immediately cut all my hair off, grew facial hair and never grew it long again,” she said. “I had to act like the toughest person I could find.”\u003c/p>\n\u003cp>Even today she searches her memory for what she could have done differently to prevent the assaults.\u003c/p>\n\u003cfigure id=\"attachment_3173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3173\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-800x450.jpg\" alt=\"Yekaterina Wesa Patience said that in the past, she cut off her hair and grew facial hair to protect herself from the threat of harassment, violence and sexual assault behind bars.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yekaterina Wesa Patience said that in the past, she cut off her hair and grew facial hair to protect herself from the threat of harassment, violence and sexual assault behind bars. \u003ccite>(Monica Lam/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are too many stories of \u003ca href=\"https://www.kqed.org/news/11794221/could-changing-how-transgender-inmates-are-housed-make-prison-safer-for-them\">transgender prisoners being attacked, beaten, raped or killed behind bars\u003c/a>. While violence and sexual assault inside prison is a widespread problem, a 2007 study by UC Irvine researchers found that transgender prisoners are 13 times more likely to be sexually assaulted than their cisgender counterparts. That statistic is even more striking given that transgender prisoners make up only about 1% of the total prison population in California.\u003c/p>\n\u003cp>Under the pressure of federal law and numerous prisoner-led lawsuits, California's prison system has been making changes to ensure greater safety for all its prisoners and also to make accommodations for the needs of transgender people.\u003c/p>\n\u003cp>In settling a lawsuit brought by transgender inmate Shiloh Quine, the department in 2015 started allowing access to apparel previously reserved for female prisoners at women’s prisons — items like bras, clothing, makeup and jewelry. Similar policies were put into place for transgender men at women’s prisons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During one of the weekly meetings of a transgender support group, which gathers in a bright room lined with blue couches, I asked about the makeup. To me, makeup seemed like one of the niceties of life that I hadn’t expected to see on a list of prison canteen items.\u003c/p>\n\u003cp>“I love my pinks,” said Cary CJay Smith, showing me a couple tubes of lip gloss. Her eyelids were also dusted a soft shade of pink. “This one is for my eyes, the volumizing,” she said, holding up a bright yellow tube of mascara.\u003c/p>\n\u003cp>With a wink, she showed me what else she used the mascara for.\u003c/p>\n\u003cp>“I cover up my gray with it,” she said, brushing the wand’s bristles against her hair. “Just a little bit on the side.”\u003c/p>\n\u003cfigure id=\"attachment_3170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3170\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-800x450.jpg\" alt=\"Cary CJay Smith shows her makeup in her favorite color: pink. The state prison system in 2015 started allowing access to apparel previously reserved for female prisoners at women’s prisons — items like bras, clothing, makeup and jewelry. Similar policies were put into place for transgender men at women’s prisons.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cary CJay Smith shows her makeup in her favorite color: pink. The state prison system in 2015 started allowing access to apparel previously reserved for female prisoners at women’s prisons — items like bras, clothing, makeup and jewelry. Similar policies were put into place for transgender men at women’s prisons. \u003ccite>(Monica Lam/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the prisoners who have been inside for a long time said getting access to makeup was a big deal.\u003c/p>\n\u003cp>“It used to be that we didn't have real makeup and we had to improvise,” said David Bella Birrell. “Like getting China markers for eyebrow stuff.”\u003c/p>\n\u003cp>Or mixing Koolaid and Chapstick to make lipstick, added Birrell, who’s been incarcerated since 1983 for first-degree murder.\u003c/p>\n\u003cp>Smith also shared one of her hacks.\u003c/p>\n\u003cp>“I use a toothpaste box — Colgate — and I get a Q-tip, and I can rub baby oil along the red part of the box,” she said. “I can make me a little eyeshadow, a little pink eyeshadow.”\u003c/p>\n\u003cp>The support group is also where more serious topics get discussed. An animated argument flared up about whether one inmate was adequately dressed on a recent hot day.\u003c/p>\n\u003cp>“I was sitting in my cell and it's almost 90 [degrees]. I'm sitting with just my bra and my shorts, facing the wall,” said Rachael Goosen. When a passing corrections officer reprimanded her for being inappropriately dressed, Goosen was upset. “When I'm at my bed area, that's my area and I can dress as I feel,” she said.\u003c/p>\n\u003cp>But Smith disagreed, advocating that trans women should err on the side of modesty.\u003c/p>\n\u003cp>“As a woman, you should want to be covered,” Smith said. “I keep my mumu on. I mean I don't care how hot it is.”\u003c/p>\n\u003cfigure id=\"attachment_3174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3174\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-800x450.jpg\" alt=\"Transgender women gather for a weekly support group at California Medical Facility, a state prison in Vacaville, CA.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Transgender women gather for a weekly support group at California Medical Facility, a state prison in Vacaville, CA. \u003ccite>(Sruti Mamidanna/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Women in Men’s Prisons\u003c/h3>\n\u003cp>California prisons don’t have special housing units dedicated to transgender inmates. Instead, they are generally housed in the same type of cells as other men and in some cases share dorms with more than a hundred people.\u003c/p>\n\u003cp>How a prisoner is assigned to a particular cell at a particular prison is based on a complex calculus that incorporates his or her crime, personal profile, past behavior inside prison, requests or preferences and the types and availability of programs at individual prisons.\u003c/p>\n\u003cp>“We have a classification process for our offenders that allows for a case by case review,” said Amy Miller, associate director of the CDCR’s female offender programs.\u003c/p>\n\u003cp>During the support group, we injected ourselves into the discussion to ask the members for their opinion: Should transgender women be housed in a women’s prison?\u003c/p>\n\u003cp>The reactions were mixed.\u003c/p>\n\u003cp>Patience said housing transgender and cisgender women together would alleviate her safety concerns. “If you identify as a female then I think you should be housed around females,” she said. “I think that would eliminate a lot of the problems of being sexually assaulted or being raped, pressured.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"medium\" align=\"right\" citation=\"Yekaterina Wesa Patience\"]“If you identify as a female then I think you should be housed around females. I think that would eliminate a lot of the problems of being sexually assaulted or being raped, pressured.”[/pullquote]\u003c/span>\u003c/p>\n\u003cp>Ava Marie Fey, who began taking hormones last year, said she hopes to eventually obtain gender affirmation surgery and be transferred to a women’s prison.\u003c/p>\n\u003cp>“I’d love to go over to the female institution instead of this,” Fey said.\u003c/p>\n\u003cp>But Mark Peaches Cates said she was happy where she was.\u003c/p>\n\u003cp>“I wouldn't like it because I love men,” Cates said. “I'd rather be right here with a bunch of men instead of with a bunch of women.”\u003c/p>\n\u003cfigure id=\"attachment_3168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3168\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-800x450.jpg\" alt=\"Ava Marie Fey, who began taking hormones last year, said she hopes to eventually obtain gender affirmation surgery and be transferred to a women’s prison. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ava Marie Fey, who began taking hormones last year, said she hopes to eventually obtain gender affirmation surgery and be transferred to a women’s prison. \u003ccite>(Sruti Mamidanna/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Democratic state Senator Scott Wiener, who represents San Francisco, had advanced legislation to allow transgender prisoners to be housed at the prison of their choice. It stalled in the fall, but Wiener said he plans to push an amended bill this year.\u003c/p>\n\u003cp>Several members of the transgender support group questioned how such a law would be enforced. How would prison officials know if someone was sincere about identifying and living as a woman? What if there are men who game the system simply in order to get inside a women’s facility?\u003c/p>\n\u003cp>CDCR’s Miller said the department was working on updating its housing classification policy but could not comment on what changes it is considering.\u003c/p>\n\u003cp>[aside label=\"More of our reporting\" link1=\"https://www.kqed.org/news/11794850/transgender-prisoners-transition-in-lockup-becoming-more-and-more-of-me,Transgender Prisoners Transition in Lockup\" link2=\"https://www.kqed.org/news/11794221/could-changing-how-transgender-inmates-are-housed-make-prison-safer-for-them,Could Changing How Transgender Inmates Are Housed Make Prison Safer for Them?\"]\u003c/p>\n\u003ch3>A Long Journey\u003c/h3>\n\u003cp>California’s prison system is one of the largest in the country, with around 114,000 inmates in its care. How the department continues to evolve and adapt to an increasingly diverse inmate population is being watched by other states, advocates, and of course, prisoners.\u003c/p>\n\u003cp>Ongoing lawsuits continue to push for further reform, from improving access to healthcare to buttressing prisoner safety, while officials scrutinize yearly whether the prisons have done enough to prevent sexual assault.\u003c/p>\n\u003cp>All the prisoners I spoke with said that things could be better. But they also agreed that life for transgender prisoners has come a long way and that they felt especially safe at CMF.\u003c/p>\n\u003cp>Prison officials said their hub system of grouping transgender prisoners together is working — together with changes to policy and prison culture.\u003c/p>\n\u003cp>“This is the first prison I've ever been to that actually had a transgender community,” Patience said.\u003c/p>\n\u003cp>She said she started growing her hair out again after coming to CMF, as well as wearing jewelry and makeup.\u003c/p>\n\u003cp>“It was actually probably the biggest load I've ever taken off my shoulders, when I just stopped saying I was going to be what everybody else wanted me to be,” said Patience.\u003c/p>\n\u003cp>As the weekly support group wound down, people broke off into smaller clumps, starting personal discussions. Goosen and another woman compared rock ‘n’ roll to hip hop music. Patience had a computer class to attend. Scott got ready to start her shift as a janitor.\u003c/p>\n\u003cp>“It’s been a long journey, but I'm comfortable in my skin,” Scott said. “I’m blessed to be where I'm at right now.”\u003c/p>\n\u003ch3>Production Credits\u003c/h3>\n\u003cp>Director & Producer: Monica Lam\u003cbr>\nEditor: Dina Maria Munsch\u003cbr>\nCamera & Sound: Sruti Mamidanna, Monica Lam\u003cbr>\nCo-Reporter: Miranda Leitsinger\u003cbr>\nExecutive Producer: Annelise Wunderlich\u003cbr>\nPost Production:Roger Chiang, Tony Cox, Simon Hui, Kim McCalla, Amy Miller, Vivian Morales\u003cbr>\nManaging Editor of Digital: Julia B. Chan\u003cbr>\nManaging Editor of News: Vinnee Tong\u003cbr>\nExecutive Editor of News: Ethan Toven-Lindsey\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Jan. 14, 2021\u003c/em>\u003cbr>\n\u003cem>On Jan. 1, 2021, \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200SB132\">Senate Bill 132\u003c/a> went into effect in California: The \"Transgender Respect, Agency, and Dignity Act,\" authored by state Sen. Scott Wiener, allows for incarcerated people to “be housed at a correctional facility designated for men or women based on the individual’s preference.”\u003c/em>\u003c/p>\n\u003cp>I arrived at a state prison in Vacaville, California, with a cart full of video equipment and two fellow reporters from KQED. We had come to meet with a group of transgender inmates and learn about their experience behind bars.\u003c/p>\n\u003cp>Prison is a challenging environment by any measure, but for the roughly two dozen transgender women living here alongside nearly 2500 men, there are unique challenges — not just for the women, but also for the prison staff responsible for keeping everyone safe.\u003c/p>\n\u003cp>The California prison system (like most) has long been set up along traditional gender lines — there are prisons for men and other ones for women, with a current total of 35 institutions located in every region of the state. But in recent years, the California Department of Corrections and Rehabilitation (CDCR) has had to contend with a growing number of offenders who do not fit into a binary gender classification system.\u003c/p>\n\u003cp>Take Jazzie Paradize Scott, for example, who said she’s been taking hormones since she was 16.\u003c/p>\n\u003cp>“I've always had my mom and my father's approval of being a trans woman,” she said. “It was just always about getting my life together and stop making so many careless mistakes. Like this — ending up in prison.”\u003c/p>\n\u003cfigure id=\"attachment_3172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3172\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-800x450.jpg\" alt=\"Jazzie Paradize Scott displays her transgender ID card, issued by the California Department of Corrections and Rehabilitation. The CDCR has designated certain prisons as hubs for transgender inmates, where support services and resources can be clustered.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Jazzie-ID-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzie Paradize Scott displays her transgender ID card, issued by the California Department of Corrections and Rehabilitation. The CDCR has designated certain prisons as hubs for transgender inmates, where support services and resources can be clustered. \u003ccite>(Monica Lam/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CDCR has designated certain prisons as hubs for transgender inmates, where support services and resources can be clustered. The prison I visited, California Medical Facility (CMF), is one of those hubs, and it’s also a prison where inmates with medical and mental health needs are placed for better access to health care.\u003c/p>\n\u003cp>Scott is on her third tour of prison and wants to put what remains of her time inside to good use. She was elected to represent other transgender prisoners on the inmate advisory council and successfully lobbied to create a weekly workout club for transgender women, complete with a prison staffer as a fitness coach.\u003c/p>\n\u003cp>“It took a long journey with a long fight, but I was able to work with staff on talking to the right people to get it done,” Scott said.\u003c/p>\n\u003cp>Today’s workout began with a simple, brisk walk around the perimeter of the gym, with a couple of women following along in their wheelchairs. While one group pedaled stationary bikes, another group played a high energy game of half-court basketball that left them drenched in sweat. Afterwards, Scott led the group through a series of stretches to cool down.\u003c/p>\n\u003cfigure id=\"attachment_3169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3169\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-800x450.jpg\" alt=\"Transgender prisoners at California Medical Facility in Vacaville successfully lobbied to create a weekly workout club for the prison's transgender women, complete with a prison staffer as a fitness coach.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/bikes7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Transgender prisoners at California Medical Facility in Vacaville successfully lobbied to create a weekly workout club for the prison's transgender women, complete with a prison staffer as a fitness coach. \u003ccite>(Sruti Mamidanna/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The point of the workout club, said Scott, was “to be able to let our hair down and wear our makeup and our gym shorts” in a safe environment. In fact, while they were inside the gym, the women could take off their prison blues and wear sports bras, tank tops, and leggings. Once the workout was over, they had to once again don their prison-issued pants and loose-fitting blue shirts before exiting the gym.\u003c/p>\n\u003ch3>‘I Never Saw Myself as a Guy’\u003c/h3>\n\u003cp>Gender identity and expression inside prison is more than a matter of getting to dress as one would like. Transgender people face harassment, hatred and violence both outside and inside prison.\u003c/p>\n\u003cp>“Since I was a child, I felt like I was a girl,” said Yekaterina Wesa Patience when we sat down to talk. “No matter what nobody told me, I just never, I never saw myself as a guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“I immediately cut all my hair off, grew facial hair and never grew it long again. I had to act like the toughest person I could find.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her family, she said, could not accept that.\u003c/p>\n\u003cp>“My father literally would beat me, sometimes every day, just to get me to act like a boy — to toughen me up,” she said.\u003c/p>\n\u003cp>By 14, Patience said she had left home, and before long, ended up in jail. She’s been in prison since 1996 for first-degree murder, a crime she committed when she was 18.\u003c/p>\n\u003cp>Inside prison, the violence continued. Patience said she was raped twice by other prisoners. In response, she tried to hide her identity.\u003c/p>\n\u003cp>“I immediately cut all my hair off, grew facial hair and never grew it long again,” she said. “I had to act like the toughest person I could find.”\u003c/p>\n\u003cp>Even today she searches her memory for what she could have done differently to prevent the assaults.\u003c/p>\n\u003cfigure id=\"attachment_3173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3173\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-800x450.jpg\" alt=\"Yekaterina Wesa Patience said that in the past, she cut off her hair and grew facial hair to protect herself from the threat of harassment, violence and sexual assault behind bars.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Kat-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yekaterina Wesa Patience said that in the past, she cut off her hair and grew facial hair to protect herself from the threat of harassment, violence and sexual assault behind bars. \u003ccite>(Monica Lam/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are too many stories of \u003ca href=\"https://www.kqed.org/news/11794221/could-changing-how-transgender-inmates-are-housed-make-prison-safer-for-them\">transgender prisoners being attacked, beaten, raped or killed behind bars\u003c/a>. While violence and sexual assault inside prison is a widespread problem, a 2007 study by UC Irvine researchers found that transgender prisoners are 13 times more likely to be sexually assaulted than their cisgender counterparts. That statistic is even more striking given that transgender prisoners make up only about 1% of the total prison population in California.\u003c/p>\n\u003cp>Under the pressure of federal law and numerous prisoner-led lawsuits, California's prison system has been making changes to ensure greater safety for all its prisoners and also to make accommodations for the needs of transgender people.\u003c/p>\n\u003cp>In settling a lawsuit brought by transgender inmate Shiloh Quine, the department in 2015 started allowing access to apparel previously reserved for female prisoners at women’s prisons — items like bras, clothing, makeup and jewelry. Similar policies were put into place for transgender men at women’s prisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During one of the weekly meetings of a transgender support group, which gathers in a bright room lined with blue couches, I asked about the makeup. To me, makeup seemed like one of the niceties of life that I hadn’t expected to see on a list of prison canteen items.\u003c/p>\n\u003cp>“I love my pinks,” said Cary CJay Smith, showing me a couple tubes of lip gloss. Her eyelids were also dusted a soft shade of pink. “This one is for my eyes, the volumizing,” she said, holding up a bright yellow tube of mascara.\u003c/p>\n\u003cp>With a wink, she showed me what else she used the mascara for.\u003c/p>\n\u003cp>“I cover up my gray with it,” she said, brushing the wand’s bristles against her hair. “Just a little bit on the side.”\u003c/p>\n\u003cfigure id=\"attachment_3170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3170\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-800x450.jpg\" alt=\"Cary CJay Smith shows her makeup in her favorite color: pink. The state prison system in 2015 started allowing access to apparel previously reserved for female prisoners at women’s prisons — items like bras, clothing, makeup and jewelry. Similar policies were put into place for transgender men at women’s prisons.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/CJ-_pinks.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cary CJay Smith shows her makeup in her favorite color: pink. The state prison system in 2015 started allowing access to apparel previously reserved for female prisoners at women’s prisons — items like bras, clothing, makeup and jewelry. Similar policies were put into place for transgender men at women’s prisons. \u003ccite>(Monica Lam/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the prisoners who have been inside for a long time said getting access to makeup was a big deal.\u003c/p>\n\u003cp>“It used to be that we didn't have real makeup and we had to improvise,” said David Bella Birrell. “Like getting China markers for eyebrow stuff.”\u003c/p>\n\u003cp>Or mixing Koolaid and Chapstick to make lipstick, added Birrell, who’s been incarcerated since 1983 for first-degree murder.\u003c/p>\n\u003cp>Smith also shared one of her hacks.\u003c/p>\n\u003cp>“I use a toothpaste box — Colgate — and I get a Q-tip, and I can rub baby oil along the red part of the box,” she said. “I can make me a little eyeshadow, a little pink eyeshadow.”\u003c/p>\n\u003cp>The support group is also where more serious topics get discussed. An animated argument flared up about whether one inmate was adequately dressed on a recent hot day.\u003c/p>\n\u003cp>“I was sitting in my cell and it's almost 90 [degrees]. I'm sitting with just my bra and my shorts, facing the wall,” said Rachael Goosen. When a passing corrections officer reprimanded her for being inappropriately dressed, Goosen was upset. “When I'm at my bed area, that's my area and I can dress as I feel,” she said.\u003c/p>\n\u003cp>But Smith disagreed, advocating that trans women should err on the side of modesty.\u003c/p>\n\u003cp>“As a woman, you should want to be covered,” Smith said. “I keep my mumu on. I mean I don't care how hot it is.”\u003c/p>\n\u003cfigure id=\"attachment_3174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3174\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-800x450.jpg\" alt=\"Transgender women gather for a weekly support group at California Medical Facility, a state prison in Vacaville, CA.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/Group-5_v2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Transgender women gather for a weekly support group at California Medical Facility, a state prison in Vacaville, CA. \u003ccite>(Sruti Mamidanna/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Women in Men’s Prisons\u003c/h3>\n\u003cp>California prisons don’t have special housing units dedicated to transgender inmates. Instead, they are generally housed in the same type of cells as other men and in some cases share dorms with more than a hundred people.\u003c/p>\n\u003cp>How a prisoner is assigned to a particular cell at a particular prison is based on a complex calculus that incorporates his or her crime, personal profile, past behavior inside prison, requests or preferences and the types and availability of programs at individual prisons.\u003c/p>\n\u003cp>“We have a classification process for our offenders that allows for a case by case review,” said Amy Miller, associate director of the CDCR’s female offender programs.\u003c/p>\n\u003cp>During the support group, we injected ourselves into the discussion to ask the members for their opinion: Should transgender women be housed in a women’s prison?\u003c/p>\n\u003cp>The reactions were mixed.\u003c/p>\n\u003cp>Patience said housing transgender and cisgender women together would alleviate her safety concerns. “If you identify as a female then I think you should be housed around females,” she said. “I think that would eliminate a lot of the problems of being sexually assaulted or being raped, pressured.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Ava Marie Fey, who began taking hormones last year, said she hopes to eventually obtain gender affirmation surgery and be transferred to a women’s prison.\u003c/p>\n\u003cp>“I’d love to go over to the female institution instead of this,” Fey said.\u003c/p>\n\u003cp>But Mark Peaches Cates said she was happy where she was.\u003c/p>\n\u003cp>“I wouldn't like it because I love men,” Cates said. “I'd rather be right here with a bunch of men instead of with a bunch of women.”\u003c/p>\n\u003cfigure id=\"attachment_3168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3168\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-800x450.jpg\" alt=\"Ava Marie Fey, who began taking hormones last year, said she hopes to eventually obtain gender affirmation surgery and be transferred to a women’s prison. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/ava-table-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ava Marie Fey, who began taking hormones last year, said she hopes to eventually obtain gender affirmation surgery and be transferred to a women’s prison. \u003ccite>(Sruti Mamidanna/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Democratic state Senator Scott Wiener, who represents San Francisco, had advanced legislation to allow transgender prisoners to be housed at the prison of their choice. It stalled in the fall, but Wiener said he plans to push an amended bill this year.\u003c/p>\n\u003cp>Several members of the transgender support group questioned how such a law would be enforced. How would prison officials know if someone was sincere about identifying and living as a woman? What if there are men who game the system simply in order to get inside a women’s facility?\u003c/p>\n\u003cp>CDCR’s Miller said the department was working on updating its housing classification policy but could not comment on what changes it is considering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link1": "https://www.kqed.org/news/11794850/transgender-prisoners-transition-in-lockup-becoming-more-and-more-of-me,Transgender Prisoners Transition in Lockup",
"link2": "https://www.kqed.org/news/11794221/could-changing-how-transgender-inmates-are-housed-make-prison-safer-for-them,Could Changing How Transgender Inmates Are Housed Make Prison Safer for Them?"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>A Long Journey\u003c/h3>\n\u003cp>California’s prison system is one of the largest in the country, with around 114,000 inmates in its care. How the department continues to evolve and adapt to an increasingly diverse inmate population is being watched by other states, advocates, and of course, prisoners.\u003c/p>\n\u003cp>Ongoing lawsuits continue to push for further reform, from improving access to healthcare to buttressing prisoner safety, while officials scrutinize yearly whether the prisons have done enough to prevent sexual assault.\u003c/p>\n\u003cp>All the prisoners I spoke with said that things could be better. But they also agreed that life for transgender prisoners has come a long way and that they felt especially safe at CMF.\u003c/p>\n\u003cp>Prison officials said their hub system of grouping transgender prisoners together is working — together with changes to policy and prison culture.\u003c/p>\n\u003cp>“This is the first prison I've ever been to that actually had a transgender community,” Patience said.\u003c/p>\n\u003cp>She said she started growing her hair out again after coming to CMF, as well as wearing jewelry and makeup.\u003c/p>\n\u003cp>“It was actually probably the biggest load I've ever taken off my shoulders, when I just stopped saying I was going to be what everybody else wanted me to be,” said Patience.\u003c/p>\n\u003cp>As the weekly support group wound down, people broke off into smaller clumps, starting personal discussions. Goosen and another woman compared rock ‘n’ roll to hip hop music. Patience had a computer class to attend. Scott got ready to start her shift as a janitor.\u003c/p>\n\u003cp>“It’s been a long journey, but I'm comfortable in my skin,” Scott said. “I’m blessed to be where I'm at right now.”\u003c/p>\n\u003ch3>Production Credits\u003c/h3>\n\u003cp>Director & Producer: Monica Lam\u003cbr>\nEditor: Dina Maria Munsch\u003cbr>\nCamera & Sound: Sruti Mamidanna, Monica Lam\u003cbr>\nCo-Reporter: Miranda Leitsinger\u003cbr>\nExecutive Producer: Annelise Wunderlich\u003cbr>\nPost Production:Roger Chiang, Tony Cox, Simon Hui, Kim McCalla, Amy Miller, Vivian Morales\u003cbr>\nManaging Editor of Digital: Julia B. Chan\u003cbr>\nManaging Editor of News: Vinnee Tong\u003cbr>\nExecutive Editor of News: Ethan Toven-Lindsey\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Two decades after Joshua Grannell gave birth to his bold, brazen, busty alter-ego, Peaches Christ has become a beloved cult icon.\u003c/p>\n\u003cp>This lush, intimate portrait offers a rare candid glimpse into the pre-show transformation of San Francisco’s most sought-after drag queen. Both man and queen get personal as they discuss transgression, catharsis, and how by becoming someone else, Joshua learned to love himself.\u003c/p>\n\u003cp>Through his development of Peaches Christ, Joshua was able to explore his feminine side and his sexuality. In the piece we hear from both Joshua and Peaches about their lives growing up Queer while attending Catholic school. Joshua developed the character of Peaches as a way to process and rebel against their Catholic upbringing.\u003c/p>\n\u003cp>As Joshua transforms into Peaches, we hear how Peaches helped him love himself. The film culminates in Joshua’s acceptance of himself, as we see Joshua/Peaches in their element at a drag show.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Directors Statement:\u003c/strong>\u003c/p>\n\u003cp>We were interested in the process of internal and external transformation that takes place in preparation for a drag show. Drag is as important and relevant as ever now. It’s a subversive act that is also a profound celebration of identity. I think a lot of people have felt like their identity has been under attack. We wanted to make a film, and actually a series of films, that celebrates diversity in thought, experience, and identity.\u003c/p>\n\u003cp>We wanted to make something that was accessible to people that have never seen a drag show, and get them interested in drag as an art form. At the same time, it was important to make a film about someone who learned to celebrate their own uniqueness, and we are hoping that it inspires others to embrace the qualities that make them unique. Jeff Dragomanovich and Nate Visconti (the directors) are both fans of Peaches.\u003c/p>\n\u003cp>\u003cstrong>Directors Bio:\u003c/strong>\u003c/p>\n\u003cp>Nate Visconti is a San Francisco Bay Area native. For the last 10 years, Nate has produced narrative and documentary shorts, worked on film and television sets, and shot and produced\u003cbr>\ncorporate training, recruiting, and promotional videos. Nate and the other filmmakers on Better Known as Peaches Christ have created a film collective to make films together.\u003c/p>\n\u003cp>Jeff Dragomanovich is freelance sound mixer that's worked on feature films, commercial and corporate videos. He is the owner and operator of Appetite For Production. Jeff is a San Francisco Bay Area native and has worked in the industry for nearly 10 years. His love of film led him to study cinema at San Francisco State University where he fell in love with documentary film making. Better Known as Peaches Christ is the third short documentary that he has directed.\u003c/p>\n\u003cp>To learn more about Nate & Jeff's work, check them out at the links below:\u003c/p>\n\u003cp>\u003ca href=\"http://fourcornerlabs.com\">http://fourcornerlabs.com\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/fourcornerlabs\">https://twitter.com/fourcornerlabs\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/FourCornerLabs\">https://www.facebook.com/FourCornerLabs\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://vimeo.com/fourcornerlabs\">https://vimeo.com/fourcornerlabs\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/fourcornerlabs\">https://www.instagram.com/fourcornerlabs\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Credit List\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directed by Jeff Dragomanovich & Nate Visconti\u003cbr>\nProduced by Nate Visconti\u003cbr>\nCo-produced by Oli McCormack & Greg Armstrong\u003cbr>\nFeaturing Joshua Grannell as Peaches Christ\u003cbr>\nDirector of Photography Dan Williams\u003cbr>\nEditor Greg Armstrong\u003cbr>\nArt Direction Helen Slomowitz\u003cbr>\nGaffer Hart Perez\u003cbr>\nProduction Assistant Dan Isaacs\u003cbr>\nColorist Eric Escobar\u003cbr>\nCompositor Tim Kwong\u003cbr>\nSound engineer and Editor Patrick Schaffer\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Directors Statement:\u003c/strong>\u003c/p>\n\u003cp>We were interested in the process of internal and external transformation that takes place in preparation for a drag show. Drag is as important and relevant as ever now. It’s a subversive act that is also a profound celebration of identity. I think a lot of people have felt like their identity has been under attack. We wanted to make a film, and actually a series of films, that celebrates diversity in thought, experience, and identity.\u003c/p>\n\u003cp>We wanted to make something that was accessible to people that have never seen a drag show, and get them interested in drag as an art form. At the same time, it was important to make a film about someone who learned to celebrate their own uniqueness, and we are hoping that it inspires others to embrace the qualities that make them unique. Jeff Dragomanovich and Nate Visconti (the directors) are both fans of Peaches.\u003c/p>\n\u003cp>\u003cstrong>Directors Bio:\u003c/strong>\u003c/p>\n\u003cp>Nate Visconti is a San Francisco Bay Area native. For the last 10 years, Nate has produced narrative and documentary shorts, worked on film and television sets, and shot and produced\u003cbr>\ncorporate training, recruiting, and promotional videos. Nate and the other filmmakers on Better Known as Peaches Christ have created a film collective to make films together.\u003c/p>\n\u003cp>Jeff Dragomanovich is freelance sound mixer that's worked on feature films, commercial and corporate videos. He is the owner and operator of Appetite For Production. Jeff is a San Francisco Bay Area native and has worked in the industry for nearly 10 years. His love of film led him to study cinema at San Francisco State University where he fell in love with documentary film making. Better Known as Peaches Christ is the third short documentary that he has directed.\u003c/p>\n\u003cp>To learn more about Nate & Jeff's work, check them out at the links below:\u003c/p>\n\u003cp>\u003ca href=\"http://fourcornerlabs.com\">http://fourcornerlabs.com\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/fourcornerlabs\">https://twitter.com/fourcornerlabs\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/FourCornerLabs\">https://www.facebook.com/FourCornerLabs\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://vimeo.com/fourcornerlabs\">https://vimeo.com/fourcornerlabs\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/fourcornerlabs\">https://www.instagram.com/fourcornerlabs\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Credit List\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directed by Jeff Dragomanovich & Nate Visconti\u003cbr>\nProduced by Nate Visconti\u003cbr>\nCo-produced by Oli McCormack & Greg Armstrong\u003cbr>\nFeaturing Joshua Grannell as Peaches Christ\u003cbr>\nDirector of Photography Dan Williams\u003cbr>\nEditor Greg Armstrong\u003cbr>\nArt Direction Helen Slomowitz\u003cbr>\nGaffer Hart Perez\u003cbr>\nProduction Assistant Dan Isaacs\u003cbr>\nColorist Eric Escobar\u003cbr>\nCompositor Tim Kwong\u003cbr>\nSound engineer and Editor Patrick Schaffer\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“The Missfits” By. Ellie Wen follows an all-girls robotics team based in San Francisco that takes on the male-dominated field of engineering.\u003c/p>\n\u003cp>The documentary follows the aptly named robotics team, The Missfits, as they confront growing pains, build their robots, and compete in the \u003ca href=\"https://www.firstinspires.org/robotics/frc\">FIRST robotics competition\u003c/a>. \u003cem>The Missfits\u003c/em> robotics team is made up of twenty girls from a variety of diverse backgrounds coming from different high schools all around the Bay Area. The Missfits are determined to show other girls how fun and rewarding STEM can be, one robot at a time.\u003c/p>\n\u003cp>On their own, they are outsiders, misfits, but together, they build each other up, just like they build their robots and embrace their identities.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone wp-image-3151 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Ellie Wen, Directors Statement: \u003c/strong>I met the Missfits robotics team at Maker Faire, a convention that celebrates invention, creativity, and hands-on learning. The girls were speaking to a group of curious kids and I watched in admiration as they demonstrated how their robot worked. I was instantly hooked, like the kids, and knew that I had to make a film about this team and its charismatic, inspiring members.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Representation matters. Throughout my career, these two words have been my guiding light. In all of my work, I represent subjects from diverse backgrounds and tackle broader social issues\u003cbr>\nthrough a very specific lens. I strive to tell personal, human stories because I believe that it is truly in the specifics that you find the universal. My goal is to have my films motivate a lasting\u003cbr>\ndialogue that extends beyond the viewing experience. It is about connecting people and fostering understanding.\u003c/p>\n\u003cp>With \"The Missfits,\" the robotics season is the narrative centerpiece, but the heart of the film depicts what it is like to be an adolescent girl juggling familial, social, and academic expectations in today’s world. This is the story of how adolescent girls - through their actions and choices - can redefine gender and race expectations for STEM.\u003c/p>\n\u003cp>\u003cstrong>Director Bio:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-3150 alignleft\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-800x533.jpg\" alt=\"\" width=\"269\" height=\"179\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager.jpg 960w\" sizes=\"(max-width: 269px) 100vw, 269px\">\u003c/p>\n\u003cp>Ellie Wen is an award-winning filmmaker from Hong Kong and Los Angeles. She began her career in Los Angeles where she produced independent films and worked at CAA, CBS Films, and Super Deluxe.\u003c/p>\n\u003cp>Ellie is an alumna of Film Independent's Project Involve fellowship program. Her first short documentary \"Single Mother Only Daughter\" premiered on Short of the Week and is a Vimeo Staff Pick. Her short documentary series “Doing Good Business” was acquired by Participant Media's SoulPancake.\u003c/p>\n\u003cp>Ellie recently received her MFA in Documentary Film from Stanford University where she produced four short documentary films.\u003c/p>\n\u003cp>Ellie's film, \"Share,\" has screened at DOC NYC, Frameline, Big Sky, DOK Leipzig, Outfest, CAAMFest, and was released on The Guardian. For her film \"On Mother’s Day,\" Ellie was named Best Local Filmmaker at the UN Women Global Voices Film Festival. Her film “25 Hours” was a finalist in the WrapWomen and Starz film contest and was distributed on Starz TV and digital. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The Missfits” By. Ellie Wen follows an all-girls robotics team based in San Francisco that takes on the male-dominated field of engineering.\u003c/p>\n\u003cp>The documentary follows the aptly named robotics team, The Missfits, as they confront growing pains, build their robots, and compete in the \u003ca href=\"https://www.firstinspires.org/robotics/frc\">FIRST robotics competition\u003c/a>. \u003cem>The Missfits\u003c/em> robotics team is made up of twenty girls from a variety of diverse backgrounds coming from different high schools all around the Bay Area. The Missfits are determined to show other girls how fun and rewarding STEM can be, one robot at a time.\u003c/p>\n\u003cp>On their own, they are outsiders, misfits, but together, they build each other up, just like they build their robots and embrace their identities.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone wp-image-3151 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/TheMissfitsStill03.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Ellie Wen, Directors Statement: \u003c/strong>I met the Missfits robotics team at Maker Faire, a convention that celebrates invention, creativity, and hands-on learning. The girls were speaking to a group of curious kids and I watched in admiration as they demonstrated how their robot worked. I was instantly hooked, like the kids, and knew that I had to make a film about this team and its charismatic, inspiring members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Representation matters. Throughout my career, these two words have been my guiding light. In all of my work, I represent subjects from diverse backgrounds and tackle broader social issues\u003cbr>\nthrough a very specific lens. I strive to tell personal, human stories because I believe that it is truly in the specifics that you find the universal. My goal is to have my films motivate a lasting\u003cbr>\ndialogue that extends beyond the viewing experience. It is about connecting people and fostering understanding.\u003c/p>\n\u003cp>With \"The Missfits,\" the robotics season is the narrative centerpiece, but the heart of the film depicts what it is like to be an adolescent girl juggling familial, social, and academic expectations in today’s world. This is the story of how adolescent girls - through their actions and choices - can redefine gender and race expectations for STEM.\u003c/p>\n\u003cp>\u003cstrong>Director Bio:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-3150 alignleft\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-800x533.jpg\" alt=\"\" width=\"269\" height=\"179\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2020/06/EllieWenHeadshotbyBrianZager.jpg 960w\" sizes=\"(max-width: 269px) 100vw, 269px\">\u003c/p>\n\u003cp>Ellie Wen is an award-winning filmmaker from Hong Kong and Los Angeles. She began her career in Los Angeles where she produced independent films and worked at CAA, CBS Films, and Super Deluxe.\u003c/p>\n\u003cp>Ellie is an alumna of Film Independent's Project Involve fellowship program. Her first short documentary \"Single Mother Only Daughter\" premiered on Short of the Week and is a Vimeo Staff Pick. Her short documentary series “Doing Good Business” was acquired by Participant Media's SoulPancake.\u003c/p>\n\u003cp>Ellie recently received her MFA in Documentary Film from Stanford University where she produced four short documentary films.\u003c/p>\n\u003cp>Ellie's film, \"Share,\" has screened at DOC NYC, Frameline, Big Sky, DOK Leipzig, Outfest, CAAMFest, and was released on The Guardian. For her film \"On Mother’s Day,\" Ellie was named Best Local Filmmaker at the UN Women Global Voices Film Festival. Her film “25 Hours” was a finalist in the WrapWomen and Starz film contest and was distributed on Starz TV and digital. During her final year in the MFA program, Ellie was awarded the UFVA Carole Fielding Student Grant for her thesis film, \"The Missfits.”\u003c/p>\n\u003cp>Ellie now lives in San Francisco and is developing her next documentary as a resident in the SFFILM FilmHouse Residency Program.\u003c/p>\n\u003cp>You can find Ellie Wen online on \u003ca href=\"https://www.facebook.com/elliewen\">Facebook\u003c/a>, \u003ca href=\"https://www.instagram.com/elliewen/?hl=en\">Instagram\u003c/a> & \u003ca href=\"https://twitter.com/elliewen\">Twitter\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To follow the journey of the film, please follow The Missfits Documentary on \u003ca href=\"https://www.facebook.com/elliewen\">Facebook\u003c/a>, \u003ca href=\"https://www.instagram.com/themissfitsdoc/?hl=en\">Instagram\u003c/a> & \u003ca href=\"https://twitter.com/themissfitsdoc\">Twitter\u003c/a>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>One Voice releases Friday May 8th. Tune into Channel 9 at 8pm to catch the broadcast.\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1588787664967_479\">\u003cem>One Voice \u003c/em>illuminates a group of people from diverse faiths, races, genders, socioeconomic backgrounds, and lifestyles, all with a common goal: to bring joy and inspiration to the stage through black gospel music.\u003c/p>\n\u003cp>Delving into the lives of four \u003ca id=\"yui_3_17_2_1_1588787664967_478\" href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Interfaith Gospel Choir\u003c/a> members and the story behind their artistic director Terrance Kelly who is the son of the late Ed Kelly, a prominent Oakland jazz pianist.\u003c/p>\n\u003cp>Terrance Kelly cites his family as the driving force behind his musical ability. Coming from a place of inclusion and acceptance, The Oakland Interfaith Gospel Choir members are able to bridge their differences, and embrace the celebrations and challenges that arise along the way.\u003c/p>\n\u003cp>With a rich history that spans three decades, OIGC has inspired audiences all over the world. The choir delivers its world-class music across the globe, thrilling concert attendees at renowned venues such as the Montreux Jazz Festival and the Molde International Jazz Festival. Yet it stays true to its Oakland roots, lifting the spirits of the homeless, elderly, and inmates throughout the San Francisco Bay Area. From its humble beginning to OIGC’s 30th anniversary celebration on the historic Paramount Theatre stage, this choir continues to circulate musical excellence through the manifestation of \u003cem>One Voice\u003c/em>.\u003c/p>\n\u003cdiv class=\"press-kit \">\n\u003cdiv class=\"clearfix\">\n\u003cdiv class=\"press-kit__director-biography\">\n\u003cdiv class=\"\">\n\u003cdiv class=\"HACK-removeParagraphMargin\" data-press-kit-biography=\"\">\n\u003cp>One Voice: The Story of the Oakland Interfaith Choir is directed by Spencer Wilkinson. Spencer is the founder of Endangered Ideas, a film production company focused on stories of resilience and based in Oakland, California. In 2018, he directed the feature-length \"ONE VOICE: The Story of the Oakland Interfaith Gospel Choir\" which premiered at the Mill Valley Film Festival in 2018, was presented by the Berkeley Film Foundation, and featured on PBS News Hour's 'Brief But Spectacular' series. He is the director and producer of \"Alice Street\". He is currently in pre-production on his feature-length documentary, \"The Day Before Hip Hop\" about the Oakland Boogaloo street dance of the 1970s.\u003c/p>\n\u003cp>Spencer's films have presented at the Mill Valley Film Festival, San Francisco Latino Film Festival, Oakland International Film Festival and Artivist Film Festival, among many others.\u003c/p>\n\u003cp>Production List:\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>executive producer MARY FORD\u003cbr>\nco-producers JED RIFFE & MARK R. DESAULNIER\u003cbr>\neditors JESSE ANDREW CLARK & ANGELA REGINATO\u003cbr>\nfinishing editor MAUREEN GOSLING\u003cbr>\narchivist MARLENE ‘MO’ MORRIS\u003cbr>\nanimation STEFAN GUSTAFSSON\u003cbr>\noriginal compositions TERRANCE KELLY\u003cbr>\nadditional compositions JAY WILLIAMS\u003cbr>\naudio post-production IMRSV SOUND and BERKELEY SOUND ARTISTS\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1954, an artist named Rex May painted a seagull on a street sign and created a San Francisco icon. Its legacy becomes endangered, however, when a mysterious forgery threatens to take its place. Weaving together archival footage, Rex May's illustrious screen prints, and modern design critique, \u003cem>49 Mile Scenic Drive\u003c/em> takes the viewer on a whirlwind journey through the streets of San Francisco and begs the question: does one street sign really matter? With as many twists and turns as Lombard Street, this short documentary delivers history with humor. It exhibits cinema's power to create change, no matter how small. And it might just tug a heartstring or two.\u003c/p>\n\u003cfigure id=\"attachment_3018\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3018\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/49MD_MAIN_image01-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-1200x675.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">49 Mile Scenic Drive - 1954 (left) 1990's (right)\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cstrong>Director Bios:\u003c/strong>\u003c/h5>\n\u003cp>\u003cstrong>Bradley Smith\u003c/strong> is an artist and filmmaker living in San Francisco. He co-directed and produced the documentary short film \u003cem>49 Mile Scenic Drive. \u003c/em>The film premiered at the 2018 San Francisco International Film Festival and won a Golden Gate Award for Best Bay Area Short Film. It went on to play at multiple festivals including AFI Fest, Warsaw Film Festival, and Tacoma Film Festival. He was a Fellow at Yerba Buena Center for the Arts in 2017-2018 and co-created and performed \"Movement-Based Thing,\" an exploratory exercise protocol designed to address the fitness of both the individual and the community. His most recent solo show was a large scale participatory video and light installation commissioned by Fort Mason Center for Arts and Culture to close out their month-long series \"Fortnights: Magic in 2017.\" He is currently working on an experimental documentary about Jason Jones, a man who learned to code inside San Quentin Prison while serving a 14-year sentence. Previous film collaborations have screened at Locarno, AFI Fest, BAM Cinemafest, Maryland Film Festival, BAFICI, lndielisboa, Torino Film Festival, San Francisco lndiefest and more.\u003c/p>\n\u003cfigure id=\"attachment_3020\" class=\"wp-caption alignnone\" style=\"max-width: 225px\">\u003cimg class=\" wp-image-3020\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/BradleySmith.png\" alt=\"\" width=\"225\" height=\"312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/BradleySmith.png 518w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/BradleySmith-160x222.png 160w\" sizes=\"(max-width: 225px) 100vw, 225px\">\u003cfigcaption class=\"wp-caption-text\">49 Mile Scenic Drive Director - Bradley Smith\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tyler McPherron\u003c/strong> is a Bay Area-based cinematographer who sometimes finds himself in the director's chair. His work has been featured by \u003cem>Short of the Week, The Disposable Film Festival, Newness, National Geographic, The Atlantic\u003c/em> and \u003cem>Dazed\u003c/em>. His list of cinematography credits includes \u003cem>ESPN Films' 30 for 30 : Hit it Hard\u003c/em>, which premiered at SXSW Film Festival. Three of his videos have been selected for a Vimeo Staff Pick, and\u003cem> Can You Read My Lips?\u003c/em> was picked as their \"Best of the Month.\" He has been fortunate to work with some of his favorite musicians including Future Islands, FKA Twigs, Moses Sumney, Sylvan Esso and Toro y Moi. His list of client work includes Google, Method, PBS, Kraft, Intel, Levis, Nest, Pandora, and Yours Truly.\u003c/p>\n\u003cfigure id=\"attachment_3021\" class=\"wp-caption alignnone\" style=\"max-width: 240px\">\u003cimg class=\" wp-image-3021\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/TylerMcPherron.png\" alt=\"\" width=\"240\" height=\"242\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/TylerMcPherron.png 544w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TylerMcPherron-160x161.png 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">49 Mile Scenic Drive Director - Tyler McPherron\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cstrong>Credits:\u003c/strong>\u003c/h5>\n\u003cp>Director: Bradley Smith, Tyler McPherron\u003c/p>\n\u003cp>Writer, Narrator, and Illustrator: Alexander Barrett\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Producer: Bradley Smith, Jeremy Summer, Little Moving Pictures\u003c/p>\n\u003cp>Director of Photography: Tyler McPherron\u003c/p>\n\u003cp>Editor: Gregory Gheorgiu, Matthew O'Donnell, Tyler McPherron, Bradley Smith\u003c/p>\n\u003cp>Music Composer: Jordan Lehning\u003c/p>\n\u003cp>Music: Hagen Quartett\u003c/p>\n\u003cp>Colorist: Sean Wells\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sound Mixing: Joel Raabe\u003c/p>\n\n",
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"description": "In 1954, an artist named Rex May painted a seagull on a street sign, creating the iconic "49 Mile Scenic Drive" city markers. Its legacy becomes endangered, however, when a mysterious forgery threatens to take its place.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1954, an artist named Rex May painted a seagull on a street sign and created a San Francisco icon. Its legacy becomes endangered, however, when a mysterious forgery threatens to take its place. Weaving together archival footage, Rex May's illustrious screen prints, and modern design critique, \u003cem>49 Mile Scenic Drive\u003c/em> takes the viewer on a whirlwind journey through the streets of San Francisco and begs the question: does one street sign really matter? With as many twists and turns as Lombard Street, this short documentary delivers history with humor. It exhibits cinema's power to create change, no matter how small. And it might just tug a heartstring or two.\u003c/p>\n\u003cfigure id=\"attachment_3018\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3018\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/49MD_MAIN_image01-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/49MD_MAIN_image01-1200x675.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">49 Mile Scenic Drive - 1954 (left) 1990's (right)\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cstrong>Director Bios:\u003c/strong>\u003c/h5>\n\u003cp>\u003cstrong>Bradley Smith\u003c/strong> is an artist and filmmaker living in San Francisco. He co-directed and produced the documentary short film \u003cem>49 Mile Scenic Drive. \u003c/em>The film premiered at the 2018 San Francisco International Film Festival and won a Golden Gate Award for Best Bay Area Short Film. It went on to play at multiple festivals including AFI Fest, Warsaw Film Festival, and Tacoma Film Festival. He was a Fellow at Yerba Buena Center for the Arts in 2017-2018 and co-created and performed \"Movement-Based Thing,\" an exploratory exercise protocol designed to address the fitness of both the individual and the community. His most recent solo show was a large scale participatory video and light installation commissioned by Fort Mason Center for Arts and Culture to close out their month-long series \"Fortnights: Magic in 2017.\" He is currently working on an experimental documentary about Jason Jones, a man who learned to code inside San Quentin Prison while serving a 14-year sentence. Previous film collaborations have screened at Locarno, AFI Fest, BAM Cinemafest, Maryland Film Festival, BAFICI, lndielisboa, Torino Film Festival, San Francisco lndiefest and more.\u003c/p>\n\u003cfigure id=\"attachment_3020\" class=\"wp-caption alignnone\" style=\"max-width: 225px\">\u003cimg class=\" wp-image-3020\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/BradleySmith.png\" alt=\"\" width=\"225\" height=\"312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/BradleySmith.png 518w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/BradleySmith-160x222.png 160w\" sizes=\"(max-width: 225px) 100vw, 225px\">\u003cfigcaption class=\"wp-caption-text\">49 Mile Scenic Drive Director - Bradley Smith\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tyler McPherron\u003c/strong> is a Bay Area-based cinematographer who sometimes finds himself in the director's chair. His work has been featured by \u003cem>Short of the Week, The Disposable Film Festival, Newness, National Geographic, The Atlantic\u003c/em> and \u003cem>Dazed\u003c/em>. His list of cinematography credits includes \u003cem>ESPN Films' 30 for 30 : Hit it Hard\u003c/em>, which premiered at SXSW Film Festival. Three of his videos have been selected for a Vimeo Staff Pick, and\u003cem> Can You Read My Lips?\u003c/em> was picked as their \"Best of the Month.\" He has been fortunate to work with some of his favorite musicians including Future Islands, FKA Twigs, Moses Sumney, Sylvan Esso and Toro y Moi. His list of client work includes Google, Method, PBS, Kraft, Intel, Levis, Nest, Pandora, and Yours Truly.\u003c/p>\n\u003cfigure id=\"attachment_3021\" class=\"wp-caption alignnone\" style=\"max-width: 240px\">\u003cimg class=\" wp-image-3021\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/TylerMcPherron.png\" alt=\"\" width=\"240\" height=\"242\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/TylerMcPherron.png 544w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TylerMcPherron-160x161.png 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">49 Mile Scenic Drive Director - Tyler McPherron\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cstrong>Credits:\u003c/strong>\u003c/h5>\n\u003cp>Director: Bradley Smith, Tyler McPherron\u003c/p>\n\u003cp>Writer, Narrator, and Illustrator: Alexander Barrett\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan class=\"TextRun SCXW160980094 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW160980094 BCX0\">In October of 2017, the most destructive fire in U.S. history devastated the Sonoma Valley. When the flames are finally extinguished, Sonoma residents\u003c/span>\u003cspan class=\"NormalTextRun SCXW160980094 BCX0\"> return home to take stock. Among them is a sculptor whose entire way of life changed in an instant after the blaze destroyed his home and studio. Another man\u003c/span>\u003cspan class=\"NormalTextRun SCXW160980094 BCX0\"> struggles to help his ailing father whose health is compromised by lingering smoke from the fire. Tourism halts after the disaster, causing a Latina restaurant worker and mother-of-two to lose her only source of income.\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW160980094 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW160980094 BCX0\"> \u003cem>After The Fire\u003c/em> is a testament to the quiet strength of these individuals as they pick up the pieces and seek to understand the ways their community has been changed overnight by natural disaster.\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW160980094 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-3009\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/ATF_still03-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/ATF_still03-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/ATF_still03-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/ATF_still03-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/ATF_still03-1020x574.png 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/ATF_still03-1200x675.png 1200w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/ATF_still03.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonoma - Northern California wildfires 2017\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Director's Statement: \u003c/strong>\u003c/h3>\n\u003cblockquote>\u003cp>On a windy Sunday night in October 2017, hundreds of wildfires sprang up across northern California, plunging dozens of towns and cities into a chaos that the governor would later describe as “the greatest tragedy that California has ever faced.”\u003c/p>\u003c/blockquote>\n\u003cp>For the last seven years, I’ve called one of those towns, Sonoma, home. I was away when the fires broke out, but what I saw on the news - aerial shots of burning forests, the charred remains of a structure, the occasional human interest interview - felt impersonal and, if anything, too clean and tidy. After driving through the night, I arrived at a Sonoma engulfed in smoke and ash. I met up with some friends and filmed for 10 days as the fires raged. When the flames were finally extinguished, the national media moved on, but the story of Sonoma’s recovery was only beginning.\u003c/p>\n\u003cp>Over the next three months, we followed our three subjects as they struggled to confront lives that had been changed overnight, bearing witness to the tangled and unpredictable path of emotional trauma.\u003c/p>\n\u003cp>We made this film because we wanted to create an honest record of one town’s experience during a disaster and to chronicle the quiet, unexpected effects that such trauma can have on individuals and a community. We feel this subject is more important than ever before; as climate change makes wildfires like these increasingly common, recent fires have erupted throughout Europe, Australia, and once again in California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We hope this film can provide a deeper look at the nuance and complexity of an event like this, as well as the incredible resiliency it demands of its victims. We have a lot to learn from them.\u003c/p>\n\u003ch3>\u003cstrong>Filmmaker Bios:\u003c/strong>\u003c/h3>\n\u003cp>\u003cspan class=\"TextRun SCXW52069560 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\">\u003cstrong>Derek Knowles\u003c/strong> \u003c/span>\u003c/span>\u003cem>\u003cspan class=\"TextRun SCXW52069560 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\">(director, cinematographer)\u003c/span>\u003c/span>\u003c/em>\u003cspan class=\"TextRun SCXW52069560 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\"> is a California-based documentary filmmaker, cinematographer, and producer. He has worked for outlets including National Geographic, Netflix, and CNN, and with Academy Award-nominated filmmakers Richard Robbins and Bill \u003c/span>\u003cspan class=\"SpellingError SCXW52069560 BCX0\">Guttentag\u003c/span>\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\">. He graduated from Stanford University in 2011 and recently completed a six-month fellowship as an Artist-in-Residence at \u003c/span>\u003cspan class=\"SpellingError SCXW52069560 BCX0\">the camp\u003c/span>\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\"> in southern France.\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW52069560 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3010\" class=\"wp-caption alignnone\" style=\"max-width: 343px\">\u003cimg class=\" wp-image-3010\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/Derek-headshot_v01-800x1068.png\" alt=\"\" width=\"343\" height=\"492\">\u003cfigcaption class=\"wp-caption-text\">After The Fire Director - Derek Knowles\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"TextRun Highlight SCXW126970228 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW126970228 BCX0\">\u003cstrong>Spencer Seibert\u003c/strong> \u003c/span>\u003c/span>\u003cem>\u003cspan class=\"TextRun Highlight SCXW126970228 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW126970228 BCX0\">(director, editor)\u003c/span>\u003c/span>\u003c/em>\u003cspan class=\"TextRun Highlight SCXW126970228 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW126970228 BCX0\"> is an award-winning editor, director, and motion designer. Since graduating from Chapman University in 2009 with a BFA in film production, he has partnered with nationally recognized brands, non-profits, and musical artists to create documentaries, music videos, and marketing pieces. While his work has played at festivals around the world, he is proud to call Chicago home.\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW126970228 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3011\" class=\"wp-caption alignnone\" style=\"max-width: 340px\">\u003cimg class=\" wp-image-3011\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/Spencer-headshot_v01-800x1068.png\" alt=\"\" width=\"340\" height=\"454\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-800x1068.png 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-160x214.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-768x1026.png 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-1020x1362.png 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-899x1200.png 899w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01.png 1872w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003cfigcaption class=\"wp-caption-text\">After The Fire Director - Spencer Seibert\u003c/figcaption>\u003c/figure>\n\u003ch3>Credits:\u003c/h3>\n\u003ch5>\u003cstrong>Featuring:\u003c/strong>\u003c/h5>\n\u003cp>Chris Berger\u003c/p>\n\u003cp>Gilham Erickson\u003c/p>\n\u003cp>Maribel Guido\u003c/p>\n\u003ch5>\u003cstrong>Crew:\u003c/strong>\u003c/h5>\n\u003cp>Director: Derek Knowles & Spencer Seibert\u003c/p>\n\u003cp>Producer: Paul D. Martinez\u003c/p>\n\u003cp>Editor: Spencer Seibert\u003c/p>\n\u003cp>Cinematographer: Derek Knowles\u003c/p>\n\u003cp>Music: Sibusile Xaba\u003c/p>\n\u003cp>Sound Designer: Ben Treimer\u003c/p>\n\u003cp>Story Consultant: Jeffrey Plunkett\u003c/p>\n\u003cp>Additional photography: Basil Glew-Galloway, Richard Neill\u003c/p>\n\u003cp>Color: Framestore\u003c/p>\n\u003cp>Colorist: Maria Carretero\u003c/p>\n\u003cp>Post-production sound: Optimus\u003c/p>\n\u003cp>Audio Assistant: Zach Scheitlin\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We hope this film can provide a deeper look at the nuance and complexity of an event like this, as well as the incredible resiliency it demands of its victims. We have a lot to learn from them.\u003c/p>\n\u003ch3>\u003cstrong>Filmmaker Bios:\u003c/strong>\u003c/h3>\n\u003cp>\u003cspan class=\"TextRun SCXW52069560 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\">\u003cstrong>Derek Knowles\u003c/strong> \u003c/span>\u003c/span>\u003cem>\u003cspan class=\"TextRun SCXW52069560 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\">(director, cinematographer)\u003c/span>\u003c/span>\u003c/em>\u003cspan class=\"TextRun SCXW52069560 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\"> is a California-based documentary filmmaker, cinematographer, and producer. He has worked for outlets including National Geographic, Netflix, and CNN, and with Academy Award-nominated filmmakers Richard Robbins and Bill \u003c/span>\u003cspan class=\"SpellingError SCXW52069560 BCX0\">Guttentag\u003c/span>\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\">. He graduated from Stanford University in 2011 and recently completed a six-month fellowship as an Artist-in-Residence at \u003c/span>\u003cspan class=\"SpellingError SCXW52069560 BCX0\">the camp\u003c/span>\u003cspan class=\"NormalTextRun SCXW52069560 BCX0\"> in southern France.\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW52069560 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3010\" class=\"wp-caption alignnone\" style=\"max-width: 343px\">\u003cimg class=\" wp-image-3010\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/Derek-headshot_v01-800x1068.png\" alt=\"\" width=\"343\" height=\"492\">\u003cfigcaption class=\"wp-caption-text\">After The Fire Director - Derek Knowles\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"TextRun Highlight SCXW126970228 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW126970228 BCX0\">\u003cstrong>Spencer Seibert\u003c/strong> \u003c/span>\u003c/span>\u003cem>\u003cspan class=\"TextRun Highlight SCXW126970228 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW126970228 BCX0\">(director, editor)\u003c/span>\u003c/span>\u003c/em>\u003cspan class=\"TextRun Highlight SCXW126970228 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW126970228 BCX0\"> is an award-winning editor, director, and motion designer. Since graduating from Chapman University in 2009 with a BFA in film production, he has partnered with nationally recognized brands, non-profits, and musical artists to create documentaries, music videos, and marketing pieces. While his work has played at festivals around the world, he is proud to call Chicago home.\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW126970228 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3011\" class=\"wp-caption alignnone\" style=\"max-width: 340px\">\u003cimg class=\" wp-image-3011\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/Spencer-headshot_v01-800x1068.png\" alt=\"\" width=\"340\" height=\"454\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-800x1068.png 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-160x214.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-768x1026.png 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-1020x1362.png 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01-899x1200.png 899w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Spencer-headshot_v01.png 1872w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003cfigcaption class=\"wp-caption-text\">After The Fire Director - Spencer Seibert\u003c/figcaption>\u003c/figure>\n\u003ch3>Credits:\u003c/h3>\n\u003ch5>\u003cstrong>Featuring:\u003c/strong>\u003c/h5>\n\u003cp>Chris Berger\u003c/p>\n\u003cp>Gilham Erickson\u003c/p>\n\u003cp>Maribel Guido\u003c/p>\n\u003ch5>\u003cstrong>Crew:\u003c/strong>\u003c/h5>\n\u003cp>Director: Derek Knowles & Spencer Seibert\u003c/p>\n\u003cp>Producer: Paul D. Martinez\u003c/p>\n\u003cp>Editor: Spencer Seibert\u003c/p>\n\u003cp>Cinematographer: Derek Knowles\u003c/p>\n\u003cp>Music: Sibusile Xaba\u003c/p>\n\u003cp>Sound Designer: Ben Treimer\u003c/p>\n\u003cp>Story Consultant: Jeffrey Plunkett\u003c/p>\n\u003cp>Additional photography: Basil Glew-Galloway, Richard Neill\u003c/p>\n\u003cp>Color: Framestore\u003c/p>\n\u003cp>Colorist: Maria Carretero\u003c/p>\n\u003cp>Post-production sound: Optimus\u003c/p>\n\u003cp>Audio Assistant: Zach Scheitlin\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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It also follows Sayers as she provides a refuge in the sacred Indian Canyon for Indigenous people to reclaim their culture, spirituality, and heritage. \u003c/span>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3004\" class=\"wp-caption alignnone\" style=\"max-width: 448px\">\u003cimg class=\" wp-image-3004\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/4W6A3194-800x559.jpg\" alt=\"\" width=\"448\" height=\"313\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-768x536.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-1020x712.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-1200x838.jpg 1200w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003cfigcaption class=\"wp-caption-text\">Ann Marie Sayers - Tribal Chair of Indian Canyon \u003ccite>(Derek Knowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cstrong>Director Bio:\u003c/strong>\u003c/h5>\n\u003cp>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"SpellingError SCXW264189358 BCX0\">Rucha\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"SpellingError SCXW264189358 BCX0\">Chitnis\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\">is\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> a \u003ca class=\"Hyperlink BCX0 SCXW62107340\" href=\"http://www.awomanslens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"TextRun Underlined BCX0 SCXW62107340\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun BCX0 SCXW62107340\">photojournalist\u003c/span>\u003c/span>\u003c/a>, writer, and an emerging filmmaker. Her stories highlight the power and agency of women rising up and raising their voices against ecological chaos and economic inequities. Her work elevates a narrative of hope and resilience in opposition to the ethnocentric lens that often erases, dehumanizes, and victimizes women and communities of color. 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It also follows Sayers as she provides a refuge in the sacred Indian Canyon for Indigenous people to reclaim their culture, spirituality, and heritage. \u003c/span>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3004\" class=\"wp-caption alignnone\" style=\"max-width: 448px\">\u003cimg class=\" wp-image-3004\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/4W6A3194-800x559.jpg\" alt=\"\" width=\"448\" height=\"313\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-768x536.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-1020x712.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/4W6A3194-1200x838.jpg 1200w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003cfigcaption class=\"wp-caption-text\">Ann Marie Sayers - Tribal Chair of Indian Canyon \u003ccite>(Derek Knowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cstrong>Director Bio:\u003c/strong>\u003c/h5>\n\u003cp>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"SpellingError SCXW264189358 BCX0\">Rucha\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"SpellingError SCXW264189358 BCX0\">Chitnis\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\">is\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> a \u003ca class=\"Hyperlink BCX0 SCXW62107340\" href=\"http://www.awomanslens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"TextRun Underlined BCX0 SCXW62107340\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun BCX0 SCXW62107340\">photojournalist\u003c/span>\u003c/span>\u003c/a>, writer, and an emerging filmmaker. Her stories highlight the power and agency of women rising up and raising their voices against ecological chaos and economic inequities. Her work elevates a narrative of hope and resilience in opposition to the ethnocentric lens that often erases, dehumanizes, and victimizes women and communities of color. She \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\">is\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> a \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\">fellow\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> at the \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\">International\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\">Women's\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\">Media\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW264189358 BCX0\" lang=\"EN\" xml:lang=\"EN\">\u003cspan class=\"NormalTextRun SCXW264189358 BCX0\"> Foundation. \u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW264189358 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_3003\" class=\"wp-caption alignnone\" style=\"max-width: 449px\">\u003cimg class=\" wp-image-3003\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/InTheLandofMyAncestors_HeadShot-800x533.jpg\" alt=\"\" width=\"449\" height=\"299\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/InTheLandofMyAncestors_HeadShot-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/InTheLandofMyAncestors_HeadShot-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/InTheLandofMyAncestors_HeadShot-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/InTheLandofMyAncestors_HeadShot-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/InTheLandofMyAncestors_HeadShot-1200x800.jpg 1200w\" sizes=\"(max-width: 449px) 100vw, 449px\">\u003cfigcaption class=\"wp-caption-text\">In The Land of My Ancestors Director - Rucha Chitnis\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Credits:\u003c/strong>\u003c/h3>\n\u003cp>Director & Producer: Rucha Chitnis\u003c/p>\n\u003cp>Cinematographer & Sound: Jason Taylor\u003c/p>\n\u003cp>Editor: Quinn Costello\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>The Maze\u003c/em> explores the historical, cultural, and environmental impact surrounding of the MacArthur Maze freeway interchange in Oakland. From Ohlone shellmounds to homeless communities in West Oakland, this film examines how the convergence of four distinct landscapes — a state park, a shopping mall, a neighborhood, and a port – came to be and how they each represent a part of the history of the San Francisco East Bay Area.\u003c/p>\n\u003cp>Through the use of archival film, historical maps, photos and interviews with members of the communities, viewers are introduced to the rich and sometimes contentious history of the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_2996\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2996\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/TheMaze-800x449.jpg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-1200x674.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The MacArthur Maze\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>When I moved to West Oakland in August 2016 from the Netherlands, I immediately became aware of the elevated freeway interchange looming over the neighborhood that was going to be my home for the following two years. And it was clear how one of the freeways, intended or not, acts as a physical border between the cities of Oakland and Emeryville; two towns that today are as different as night and day. One with luxury condos, multi-million dollar apartments and a shopping mall fulfilling all of our needs. The other, West Oakland, with old Victorian homes dating back to the glory days when it was the prime transportation hub of the American West.\u003c/p>\n\u003cp>But the image of freeways acting as physical barriers, separating people along notions of race and class, were not a foreign sight to me. I too grew up and have lived on the ‘wrong side of the tracks'. And when I lived in South Africa, I saw how townships, racialized spaces created during apartheid, still dictate people’s daily lives and routines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But here on the eastern shore of the San Francisco Bay, there was something rather different.\u003c/p>\n\u003cp>As I grew accustomed to the white noise coming from the freeways in the following months, I started taking photographs of the structure, in an effort to find visual beauty in what at first glance seemed like a structural grey mess. And as I found order in this urban chaos I noticed that the MacArthur Maze brings together, but also cuts off two additional landscapes: a state park, west of the Interstate 80 and the Port of Oakland, west of the I880.\u003c/p>\n\u003cp>Driven by an urge to tell and show people that this mundane structure, where hundreds of thousands of people pass through each day, is in fact very special, I decided to make a film about how these four areas have become the way they are today.\u003c/p>\n\u003cp>I wanted to make a documentary that would be an examination of the structure, while at the same time would act as some sort of motion picture postcard sent by a foreign filmmaker about this particular place in the United States.\u003c/p>\n\u003cp>Because it’s not just the coming together of four different landscapes where the three freeways meet. It’s the coming together of the quintessential urban American landscape anno 2018. Gentrification, crime, homelessness, pollution, and the opioid crisis. The areas around the MacArthur Maze, are faced with a host of challenges. And through the Maze, which simultaneously acts as a guide in this film, you can start seeing how these challenges have come together.\u003c/p>\n\u003cp>Through this meditation of how urban spaces in California have developed over the past two centuries, I've been able to get to know and connect to my new adoptive neighborhood on a deeper level. And likewise, I hope that the audience will start thinking about how seemingly uninteresting structures and objects in public spaces, can carry more significance if we start considering them as heritage.\u003c/p>\n\u003cfigure id=\"attachment_2995\" class=\"wp-caption alignnone\" style=\"max-width: 375px\">\u003cimg class=\" wp-image-2995\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/Roosblad_Serginho-1-800x1040.jpg\" alt=\"\" width=\"375\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-800x1040.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-160x208.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-768x998.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-1020x1326.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-923x1200.jpg 923w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">The Maze Director - Serginho Roosblad\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>Serginho Roosblad is an award-winning documentary filmmaker, journalist, and photographer.\u003c/p>\n\u003cp>His work has been published by KQED, The San Francisco Chronicle, AJ+, Amnesty International, Voice of America, Fusion, Al Jazeera and Radio France International.\u003c/p>\n\u003cp>Serginho currently lives in Oakland, California, right next to the subject of his documentary film, the MacArthur Maze. He hails from Amsterdam, the Netherlands, with roots in the Caribbean and South America. Prior to living in the U.S., he lived in Uganda, where he lived and worked as a freelance correspondent.\u003c/p>\n\u003cp>He holds a Masters of Journalism degree from UC Berkeley, where he was the Marlon T. Riggs fellow in documentary filmmaking. He also holds a Masters of Philosophy degree in African studies from the University of Cape Town (South Africa) and a Bachelor’s degree in Journalism from the Hogeschool Utrecht (the Netherlands).\u003c/p>\n\u003cp>\u003cstrong>Featuring\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW221369834\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError BCX0 SCXW221369834\">Alternier\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW221369834\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW221369834\"> Baker Cook\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW65398823\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW65398823\">Gabriel Cruz\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW60156102\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError BCX0 SCXW60156102\">Trewlawny\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW60156102\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW60156102\"> Dios\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW41186840\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW41186840\">Corrina\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW41186840\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW41186840\"> Gould\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW249035038\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW249035038\">Adrian \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW249035038\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError BCX0 SCXW249035038\">Praetzellis\u003c/span>\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Crew\u003c/strong>\u003c/p>\n\u003cp>Director, Writer, Producer : Serginho Roosblad\u003c/p>\n\u003cp>Cinematography: Serginho Roosblad, \u003cspan class=\"TextRun BCX0 SCXW260158930\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun BCX0 SCXW260158930\">Rafael Roy\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW142257411 BCX0\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun SCXW142257411 BCX0\">Additional Photography:\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW142257411 BCX0\"> \u003c/span>\u003cspan class=\"TextRun BCX0 SCXW6526403\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"NormalTextRun BCX0 SCXW6526403\">Pablo de la \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW6526403\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"SpellingError BCX0 SCXW6526403\">Hoya, \u003cspan class=\"TextRun BCX0 SCXW243784020\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"NormalTextRun BCX0 SCXW243784020\">Lauren Schwartzman, \u003cspan class=\"TextRun BCX0 SCXW80983676\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"NormalTextRun BCX0 SCXW80983676\">Sofia Melo\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW66214596\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun BCX0 SCXW66214596\">Drone Photography: \u003cspan class=\"TextRun BCX0 SCXW84744179\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun BCX0 SCXW84744179\">Myles Fenwick\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Maze\u003c/em> explores the historical, cultural, and environmental impact surrounding of the MacArthur Maze freeway interchange in Oakland. From Ohlone shellmounds to homeless communities in West Oakland, this film examines how the convergence of four distinct landscapes — a state park, a shopping mall, a neighborhood, and a port – came to be and how they each represent a part of the history of the San Francisco East Bay Area.\u003c/p>\n\u003cp>Through the use of archival film, historical maps, photos and interviews with members of the communities, viewers are introduced to the rich and sometimes contentious history of the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_2996\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2996\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/TheMaze-800x449.jpg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/TheMaze-1200x674.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The MacArthur Maze\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>When I moved to West Oakland in August 2016 from the Netherlands, I immediately became aware of the elevated freeway interchange looming over the neighborhood that was going to be my home for the following two years. And it was clear how one of the freeways, intended or not, acts as a physical border between the cities of Oakland and Emeryville; two towns that today are as different as night and day. One with luxury condos, multi-million dollar apartments and a shopping mall fulfilling all of our needs. The other, West Oakland, with old Victorian homes dating back to the glory days when it was the prime transportation hub of the American West.\u003c/p>\n\u003cp>But the image of freeways acting as physical barriers, separating people along notions of race and class, were not a foreign sight to me. I too grew up and have lived on the ‘wrong side of the tracks'. And when I lived in South Africa, I saw how townships, racialized spaces created during apartheid, still dictate people’s daily lives and routines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But here on the eastern shore of the San Francisco Bay, there was something rather different.\u003c/p>\n\u003cp>As I grew accustomed to the white noise coming from the freeways in the following months, I started taking photographs of the structure, in an effort to find visual beauty in what at first glance seemed like a structural grey mess. And as I found order in this urban chaos I noticed that the MacArthur Maze brings together, but also cuts off two additional landscapes: a state park, west of the Interstate 80 and the Port of Oakland, west of the I880.\u003c/p>\n\u003cp>Driven by an urge to tell and show people that this mundane structure, where hundreds of thousands of people pass through each day, is in fact very special, I decided to make a film about how these four areas have become the way they are today.\u003c/p>\n\u003cp>I wanted to make a documentary that would be an examination of the structure, while at the same time would act as some sort of motion picture postcard sent by a foreign filmmaker about this particular place in the United States.\u003c/p>\n\u003cp>Because it’s not just the coming together of four different landscapes where the three freeways meet. It’s the coming together of the quintessential urban American landscape anno 2018. Gentrification, crime, homelessness, pollution, and the opioid crisis. The areas around the MacArthur Maze, are faced with a host of challenges. And through the Maze, which simultaneously acts as a guide in this film, you can start seeing how these challenges have come together.\u003c/p>\n\u003cp>Through this meditation of how urban spaces in California have developed over the past two centuries, I've been able to get to know and connect to my new adoptive neighborhood on a deeper level. And likewise, I hope that the audience will start thinking about how seemingly uninteresting structures and objects in public spaces, can carry more significance if we start considering them as heritage.\u003c/p>\n\u003cfigure id=\"attachment_2995\" class=\"wp-caption alignnone\" style=\"max-width: 375px\">\u003cimg class=\" wp-image-2995\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/Roosblad_Serginho-1-800x1040.jpg\" alt=\"\" width=\"375\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-800x1040.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-160x208.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-768x998.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-1020x1326.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/Roosblad_Serginho-1-923x1200.jpg 923w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">The Maze Director - Serginho Roosblad\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>Serginho Roosblad is an award-winning documentary filmmaker, journalist, and photographer.\u003c/p>\n\u003cp>His work has been published by KQED, The San Francisco Chronicle, AJ+, Amnesty International, Voice of America, Fusion, Al Jazeera and Radio France International.\u003c/p>\n\u003cp>Serginho currently lives in Oakland, California, right next to the subject of his documentary film, the MacArthur Maze. He hails from Amsterdam, the Netherlands, with roots in the Caribbean and South America. Prior to living in the U.S., he lived in Uganda, where he lived and worked as a freelance correspondent.\u003c/p>\n\u003cp>He holds a Masters of Journalism degree from UC Berkeley, where he was the Marlon T. Riggs fellow in documentary filmmaking. He also holds a Masters of Philosophy degree in African studies from the University of Cape Town (South Africa) and a Bachelor’s degree in Journalism from the Hogeschool Utrecht (the Netherlands).\u003c/p>\n\u003cp>\u003cstrong>Featuring\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW221369834\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError BCX0 SCXW221369834\">Alternier\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW221369834\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW221369834\"> Baker Cook\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW65398823\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW65398823\">Gabriel Cruz\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW60156102\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError BCX0 SCXW60156102\">Trewlawny\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW60156102\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW60156102\"> Dios\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW41186840\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW41186840\">Corrina\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW41186840\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW41186840\"> Gould\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW249035038\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW249035038\">Adrian \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW249035038\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError BCX0 SCXW249035038\">Praetzellis\u003c/span>\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Crew\u003c/strong>\u003c/p>\n\u003cp>Director, Writer, Producer : Serginho Roosblad\u003c/p>\n\u003cp>Cinematography: Serginho Roosblad, \u003cspan class=\"TextRun BCX0 SCXW260158930\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun BCX0 SCXW260158930\">Rafael Roy\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW142257411 BCX0\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun SCXW142257411 BCX0\">Additional Photography:\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW142257411 BCX0\"> \u003c/span>\u003cspan class=\"TextRun BCX0 SCXW6526403\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"NormalTextRun BCX0 SCXW6526403\">Pablo de la \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW6526403\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"SpellingError BCX0 SCXW6526403\">Hoya, \u003cspan class=\"TextRun BCX0 SCXW243784020\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"NormalTextRun BCX0 SCXW243784020\">Lauren Schwartzman, \u003cspan class=\"TextRun BCX0 SCXW80983676\" lang=\"NL-NL\" xml:lang=\"NL-NL\">\u003cspan class=\"NormalTextRun BCX0 SCXW80983676\">Sofia Melo\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW66214596\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun BCX0 SCXW66214596\">Drone Photography: \u003cspan class=\"TextRun BCX0 SCXW84744179\" lang=\"EN-GB\" xml:lang=\"EN-GB\">\u003cspan class=\"NormalTextRun BCX0 SCXW84744179\">Myles Fenwick\u003c/span>\u003c/span>\u003c/span>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>William Cromartie is a BART station agent who finds meaning through the simple act of saying hello. Every day, William greets 4,000 Oakland commuters— fist bumping, shaking hands, even hugging people from all walks of life. William has worked as a station agent at BART for 20 years and considers it the best job in the world, a statement in and of itself for a man who’s UC Berkeley educated, ran his own business for seven years, and has a 2 hour commute, each direction. William’s passion for helping people feel included comes from his own experience transcending personal barriers.\u003c/p>\n\u003cfigure id=\"attachment_2989\" class=\"wp-caption alignnone\" style=\"max-width: 500px\">\u003cimg class=\" wp-image-2989\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/AgentOfConnection3-800x335.png\" alt=\"\" width=\"500\" height=\"209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/AgentOfConnection3-800x335.png 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/AgentOfConnection3-160x67.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/AgentOfConnection3-768x321.png 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/AgentOfConnection3-1020x427.png 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/AgentOfConnection3-1200x502.png 1200w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/AgentOfConnection3.png 1596w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">William Cromartie - BART station agent\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>Ivan Cash is an award-winning interactive artist, film director, and founder of Cash Studios, who believes in the power of human connection.\u003c/p>\n\u003cp>His conceptually-driven, genre-bending media projects spark meaningful conversation and impact culture, having been featured in The New York Times, \u003ca href=\"http://www.cnn.com/2011/TECH/web/08/04/snail.mail.email/\">CNN\u003c/a>, TIME, The Guardian, \u003ca href=\"https://www.fastcompany.com/3042912/this-guy-may-be-the-only-app-designer-in-san-francisco-without-a-cell-phone\">Fast Company\u003c/a>, Buzzfeed, The Atlantic, and received multiple Vimeo Staff Picks and Webby Honorees.\u003c/p>\n\u003cp>He has been recognized as a Forbes 30 Under 30 artist, an Art Directors Club Young Gun, and a Print New Visual Artist. His work is in the permanent collection of the Victoria & Albert Museum in London and has exhibited internationally, from the Brooklyn Museum to the Australian Museum of Applied Arts & Sciences. Recently, he was inducted into the Citizens' Stamp Advisory Committee, becoming one of 15 members responsible for selecting all US postal stamps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He believes talking to strangers can change the world, but nothing would make him happier than if you closed your eyes for 20 seconds and just listened to your breath.\u003c/p>\n\u003cfigure id=\"attachment_2987\" class=\"wp-caption alignnone\" style=\"max-width: 404px\">\u003cimg class=\" wp-image-2987\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/IvanCash_Headshot-800x1000.jpg\" alt=\"\" width=\"404\" height=\"516\">\u003cfigcaption class=\"wp-caption-text\">Agent of Connection Director - Ivan Cash\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Crew \u003c/strong>\u003c/p>\n\u003cp>Director & Editor: by Ivan Cash\u003c/p>\n\u003cp>Director of Photography: Keenan Newman\u003c/p>\n\u003cp>Producer: Rachel Barth\u003c/p>\n\u003cp>Drone Operator: Tanner Beree\u003c/p>\n\u003cp>Original Score: Roger Neill\u003c/p>\n\u003cp>Assistant Camera: Matt Grote\u003c/p>\n\u003cp>Sound: Michael Clifford\u003c/p>\n\u003cp>Production Assistants: Ian Freiberg & Janice Echevarria\u003c/p>\n\u003cp>Colorist: Ayumi Ashley\u003c/p>\n\u003cp>Audio Mix: Ant Food\u003c/p>\n\u003cp>Editorial Prep: Brian Frank\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"disqusTitle": "Sawdust and Sand: Douglas Miller's Laguna Beach",
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"content": "\u003cp>\u003cspan class=\"TextRun SCXW85635845 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW85635845 BCX0\">In 1970, freshly home from the Vietnam War, 23-year-old Douglas Miller drifted into Laguna Beach, CA. In the 48 years since then, he has painted 15,000 canvases and taken 350,000 photographs of his adopted hometown. While local residents often considered his camera with curiosity and even suspicion, this documentary shows his enormous body of work to present a profound portrait of a Californian town and its people. \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW85635845 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW85635845 BCX0\">Sawdust and Sand\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW85635845 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW85635845 BCX0\"> is an irreverent look at the world through an eccentric artist's eye, as the landscape of his hometown turns from free-spirited art colony to exclusive wealthy enclave.\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW85635845 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_2980\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2980\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/SAS_Still8-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-800x484.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-768x465.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-1020x617.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-1200x726.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Douglas Miller \u003ccite>(Jason Blalock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">As a filmmaker, I \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">am driven to capture \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">cultural and artistic phenomena on the brink of extinction, and Laguna’s art community is one of those phenomena.\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\"> Growing up in Laguna, I took for granted the freedom with which people of any means could operate. With rising property values comes wealth-based exclusivity, and artists simply can’t affo\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">rd to live in Laguna anymore. T\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">he very fabric of the town has changed profoundly. Not only is Doug the last of a generation of artists, but he captured that generation faithfully, every day, with his camera. The opportunity to share his art is an honor. \u003c/span>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_2979\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2979\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/SAS_Blalock-Headshot-800x736.jpg\" alt=\"\" width=\"800\" height=\"736\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Blalock-Headshot-800x736.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Blalock-Headshot-160x147.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Blalock-Headshot-768x707.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Blalock-Headshot-1020x938.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Blalock-Headshot-1200x1104.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Blalock-Headshot.jpg 1263w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sawdust & Sand Director - Jason Blalock\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Jason Blalock \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">primarily \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">works as a cinematographer on a variety of non-fi\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">ction projects, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">for \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">outlets including \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Al Jazeera, CNN, Discovery, HBO, Netflix, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Time, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">and Vice\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\"> News\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">. Recent \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">feature documentary \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">cinematography \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">credits include \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Nobody Speak: Trials of the Free Press\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Happening\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">: A Clean Energy Revolution\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">On The Sly: In Search of the Family Stone\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Marathon: The Patriots Day Bombing\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">The Mask You Live In\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">,\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\"> and \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">XY: The Chelsea Manning Story\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, as well as films currently in po\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">st-production directed by award-\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">winning directors David France, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Alex \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Gibney\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Brian \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Knappenberger\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Jennifer Siebel Newsom, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">and Jeff \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Orlowski\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">.\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\"> He is a regular contributor to the HBO series Vice News Tonight.\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\"> His 2017 documentary short \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">In\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\"> the Wake of Ghost Ship\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\"> premiered at the San Francisco International Film Festival. He grew up in Laguna Beach, and now lives in Oakland, CA\u003c/span>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Crew\u003c/strong>\u003c/p>\n\u003cp>Director, Producer & Cinematographer: Jason Blalock\u003c/p>\n\u003cp>Editors: Summers Henderson and Jen Bradwell\u003c/p>\n\u003cp>Field Producer: Abby Martin\u003c/p>\n\u003cp>Music: Stephin Merrit\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Photography: Douglas Miller\u003c/p>\n\n",
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"excerpt": " Over 48 years Laguna Beach resident Douglas Miller has painted 15,000 canvases and taken 350,000 photographs of his adopted hometown and community. ",
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"description": "For 40 years, Douglas Miller has been photographing the little known corners of his town, creating a record of the changing face of Laguna Beach. ",
"title": "Sawdust and Sand: Douglas Miller's Laguna Beach | KQED",
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"headline": "Sawdust and Sand: Douglas Miller's Laguna Beach",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan class=\"TextRun SCXW85635845 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW85635845 BCX0\">In 1970, freshly home from the Vietnam War, 23-year-old Douglas Miller drifted into Laguna Beach, CA. In the 48 years since then, he has painted 15,000 canvases and taken 350,000 photographs of his adopted hometown. While local residents often considered his camera with curiosity and even suspicion, this documentary shows his enormous body of work to present a profound portrait of a Californian town and its people. \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW85635845 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW85635845 BCX0\">Sawdust and Sand\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW85635845 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW85635845 BCX0\"> is an irreverent look at the world through an eccentric artist's eye, as the landscape of his hometown turns from free-spirited art colony to exclusive wealthy enclave.\u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW85635845 BCX0\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_2980\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2980\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/SAS_Still8-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-800x484.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-768x465.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-1020x617.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/SAS_Still8-1200x726.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Douglas Miller \u003ccite>(Jason Blalock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">As a filmmaker, I \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">am driven to capture \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">cultural and artistic phenomena on the brink of extinction, and Laguna’s art community is one of those phenomena.\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\"> Growing up in Laguna, I took for granted the freedom with which people of any means could operate. With rising property values comes wealth-based exclusivity, and artists simply can’t affo\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">rd to live in Laguna anymore. T\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW133249998 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW133249998 BCX0\">he very fabric of the town has changed profoundly. Not only is Doug the last of a generation of artists, but he captured that generation faithfully, every day, with his camera. 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lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Brian \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Knappenberger\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Jennifer Siebel Newsom, \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">and Jeff \u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 SCXW78320976\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun BCX0 SCXW78320976\">Orlowski\u003c/span>\u003c/span>\u003cspan class=\"TextRun BCX0 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He grew up in Laguna Beach, and now lives in Oakland, CA\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
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