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(Running Time: 56:11)\u003c/em>\u003c/p>\n\u003cp>\u003cem>Writer, spoken word artist, biologist, and gender activist, Julia Serrano interviews Victor Silverman and Susan Stryker about their first film, Screaming Queens. (Running Time: 23:47)\u003c/em>\u003cbr>\nhttp://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2015/06/interview-103.mp3\u003c/p>\n\u003cp>It's a hot August night in San Francisco in 1966. Compton's Cafeteria, in the seedy Tenderloin district, is hopping with its usual assortment of transgender people, young street hustlers, and down-and-out regulars. The management, annoyed by the noisy crowd at one table, calls the police. When a surly cop, accustomed to manhandling Compton's clientele, attempts to arrest one of the queens, she throws her coffee in his face. Mayhem erupts -- windows break, furniture flies through the air. Police reinforcements arrive, and the fighting spills into the street. For the first time, the drag queens band together to fight back, getting the better of the cops, whom they kick and stomp with their high-heeled shoes and beat with their heavy purses. For everyone at Compton's that night, one thing was certain -- things would never be the same again.\u003c/p>\n\u003cp>\u003cb>Screaming Queens\u003c/b> introduces viewers to a diverse cast of former prostitutes, drag entertainers, police officers, ministers and neighborhood activists, all of whom played a part in the events leading up to the Compton's Cafeteria riot. Mixing recent interviews with archival footage, printed documents, impressionistic reenactments and period music, the program depicts a marginalized community few people know, one that exists in the midst of a city famous for its cosmopolitan glamour. With extraordinary candor and from differing points of view, the subjects recount the difficulties they encountered in the Tenderloin, as well as the sense of community they created there in the mid-1960s. Felicia Elizondo tells of prostituting herself in order to survive. Aleshia Brevard, a drag entertainer, describes how her talent spared her from street prostitution. Perhaps most surprising is Sgt. Elliot Blackstone, who helps explain the conflict between the San Francisco Police Department and the city's transgender community and how the SFPD's policies changed to reflect greater acceptance in the years following the 1966 riot.\u003c/p>\n\u003cp>The documentary goes on to show the connection between transgender activism and the larger social upheavals affecting the United States in the 1960s: the civil rights and sexual liberation movements, the youth counterculture, urban renewal, and Great Society antipoverty programs. \"Glide Memorial Methodist Church first reached out to the transgender community in these years,\" the Rev. Ed Hansen explains, \"because of new thinking about the church's role in society.\" Amanda St. Jaymes and Tamara Ching, both transsexual activists and former prostitutes, recount the ferment in the Tenderloin in the 1960s as well as the growing sense of dignity among transgender people. But in the summer of 1966, many others, including most San Francisco police officers, did not share these new ideas. By bringing these social and political tensions to light, \u003cb>Screaming Queens\u003c/b> offers viewers a fuller understanding of the events and conditions that led up to the riot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Further, \u003cb>Screaming Queens\u003c/b> explores the reverberations, both large and small, of the rise of transgender activism, a story in which the riot at Compton's Cafeteria plays a pivotal role. Sgt. Blackstone tells of singing \"We Shall Overcome\" with Tenderloin activists who successfully fought for new social services for their community. Suzie Cooke recounts her job as a transsexual counselor in one of the new agencies founded after the riot. Ching connects the Tenderloin transsexuals' new activism to the rising Gay liberation movement. And St. Jaymes explains that although the queens from Compton's were \"wild as the wind,\" they were \"determined to make something of themselves, and be something other than prostitutes.\"\u003c/p>\n\u003cp>The film ends on a high note. It shows how in just two short years transgender activism helped transform San Francisco culture in subtle and profound ways and presents reflective comments from the Compton's Cafeteria subjects who bravely ushered in a controversial revolution that continues today.\u003c/p>\n\u003cp>\u003cb>Screaming Queens\u003c/b> sets out to foster a better understanding of the experiences of transgender people and to inform a broad audience of their often-difficult lives and unheralded accomplishments. Along the way, the program also illuminates the interplay of urban politics, community mobilization and social services in creating the modern inner city.\u003c/p>\n\u003cp>This important documentary tells a forgotten San Francisco story of dramatic social change from the compelling perspective of firsthand participants. The film's story focuses on the experiences of the rioters themselves, the police and the social-activist clergy members. It also follows historian Susan Stryker's rediscovery of the 1966 disturbance at Compton's Cafeteria. At that time, transgender people faced serious employment discrimination, police harassment and other difficulties. The program's subjects describe the challenging circumstances and the misconduct of officials that drove them to take militant action in the streets. \u003cb>Screaming Queens\u003c/b> then examines the significant changes -- in police practices, social services and self-image -- that came out of the conflict. In her story within the story, Stryker reveals how the Compton's Cafeteria riot, although not as large as New York's Stonewall conflict, was a dramatic turning point in a decades-long process of transgender community formation and political mobilization in San Francisco, a process that involved dramatic changes in medical practices, urban politics, neighborhood geography and public consciousness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Screaming Queens: The Riot at Compton's Cafeteria\u003c/b> is produced in association with The Independent Television Service (ITVS) and KQED Public Television.\u003c/p>\n\n","disqusIdentifier":"43 http://kqed2.wsmtechs.net/trulyca/screaming-queens/","disqusUrl":"https://ww2.kqed.org/trulyca/screaming-queens/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":936,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":12},"modified":1537998921,"excerpt":"\u003cstrong> Screaming Queens\u003c/strong> introduces viewers to a diverse cast of former prostitutes, drag entertainers, police officers, ministers and neighborhood activists, all of whom played a part in the events leading up to San Francisco's Compton's Cafeteria riot of 1966.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":" Screaming Queens introduces viewers to a diverse cast of former prostitutes, drag entertainers, police officers, ministers and neighborhood activists, all of whom played a part in the events leading up to San Francisco's Compton's Cafeteria riot of 1966.","title":"Screaming Queens | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Screaming Queens","datePublished":"2016-07-21T10:00:00-07:00","dateModified":"2018-09-26T14:55:21-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"screaming-queens","status":"publish","videoEmbed":"https://www.youtube.com/watch?v=G-WASW9dRBU","originalAirdate":"June 19, 2005","path":"/trulyca/43/screaming-queens","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem class=\"video_caption\">Watch this entire \u003cstrong>Truly CA\u003c/strong> episode: \u003cstrong>Screaming Queens\u003c/strong> by filmmakers Victor Silverman and Susan Stryker. (Running Time: 56:11)\u003c/em>\u003c/p>\n\u003cp>\u003cem>Writer, spoken word artist, biologist, and gender activist, Julia Serrano interviews Victor Silverman and Susan Stryker about their first film, Screaming Queens. (Running Time: 23:47)\u003c/em>\u003cbr>\nhttp://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2015/06/interview-103.mp3\u003c/p>\n\u003cp>It's a hot August night in San Francisco in 1966. Compton's Cafeteria, in the seedy Tenderloin district, is hopping with its usual assortment of transgender people, young street hustlers, and down-and-out regulars. The management, annoyed by the noisy crowd at one table, calls the police. When a surly cop, accustomed to manhandling Compton's clientele, attempts to arrest one of the queens, she throws her coffee in his face. Mayhem erupts -- windows break, furniture flies through the air. Police reinforcements arrive, and the fighting spills into the street. For the first time, the drag queens band together to fight back, getting the better of the cops, whom they kick and stomp with their high-heeled shoes and beat with their heavy purses. For everyone at Compton's that night, one thing was certain -- things would never be the same again.\u003c/p>\n\u003cp>\u003cb>Screaming Queens\u003c/b> introduces viewers to a diverse cast of former prostitutes, drag entertainers, police officers, ministers and neighborhood activists, all of whom played a part in the events leading up to the Compton's Cafeteria riot. Mixing recent interviews with archival footage, printed documents, impressionistic reenactments and period music, the program depicts a marginalized community few people know, one that exists in the midst of a city famous for its cosmopolitan glamour. With extraordinary candor and from differing points of view, the subjects recount the difficulties they encountered in the Tenderloin, as well as the sense of community they created there in the mid-1960s. Felicia Elizondo tells of prostituting herself in order to survive. Aleshia Brevard, a drag entertainer, describes how her talent spared her from street prostitution. Perhaps most surprising is Sgt. Elliot Blackstone, who helps explain the conflict between the San Francisco Police Department and the city's transgender community and how the SFPD's policies changed to reflect greater acceptance in the years following the 1966 riot.\u003c/p>\n\u003cp>The documentary goes on to show the connection between transgender activism and the larger social upheavals affecting the United States in the 1960s: the civil rights and sexual liberation movements, the youth counterculture, urban renewal, and Great Society antipoverty programs. \"Glide Memorial Methodist Church first reached out to the transgender community in these years,\" the Rev. Ed Hansen explains, \"because of new thinking about the church's role in society.\" Amanda St. Jaymes and Tamara Ching, both transsexual activists and former prostitutes, recount the ferment in the Tenderloin in the 1960s as well as the growing sense of dignity among transgender people. But in the summer of 1966, many others, including most San Francisco police officers, did not share these new ideas. By bringing these social and political tensions to light, \u003cb>Screaming Queens\u003c/b> offers viewers a fuller understanding of the events and conditions that led up to the riot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Further, \u003cb>Screaming Queens\u003c/b> explores the reverberations, both large and small, of the rise of transgender activism, a story in which the riot at Compton's Cafeteria plays a pivotal role. Sgt. Blackstone tells of singing \"We Shall Overcome\" with Tenderloin activists who successfully fought for new social services for their community. Suzie Cooke recounts her job as a transsexual counselor in one of the new agencies founded after the riot. Ching connects the Tenderloin transsexuals' new activism to the rising Gay liberation movement. And St. Jaymes explains that although the queens from Compton's were \"wild as the wind,\" they were \"determined to make something of themselves, and be something other than prostitutes.\"\u003c/p>\n\u003cp>The film ends on a high note. It shows how in just two short years transgender activism helped transform San Francisco culture in subtle and profound ways and presents reflective comments from the Compton's Cafeteria subjects who bravely ushered in a controversial revolution that continues today.\u003c/p>\n\u003cp>\u003cb>Screaming Queens\u003c/b> sets out to foster a better understanding of the experiences of transgender people and to inform a broad audience of their often-difficult lives and unheralded accomplishments. Along the way, the program also illuminates the interplay of urban politics, community mobilization and social services in creating the modern inner city.\u003c/p>\n\u003cp>This important documentary tells a forgotten San Francisco story of dramatic social change from the compelling perspective of firsthand participants. The film's story focuses on the experiences of the rioters themselves, the police and the social-activist clergy members. It also follows historian Susan Stryker's rediscovery of the 1966 disturbance at Compton's Cafeteria. At that time, transgender people faced serious employment discrimination, police harassment and other difficulties. The program's subjects describe the challenging circumstances and the misconduct of officials that drove them to take militant action in the streets. \u003cb>Screaming Queens\u003c/b> then examines the significant changes -- in police practices, social services and self-image -- that came out of the conflict. In her story within the story, Stryker reveals how the Compton's Cafeteria riot, although not as large as New York's Stonewall conflict, was a dramatic turning point in a decades-long process of transgender community formation and political mobilization in San Francisco, a process that involved dramatic changes in medical practices, urban politics, neighborhood geography and public consciousness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Screaming Queens: The Riot at Compton's Cafeteria\u003c/b> is produced in association with The Independent Television Service (ITVS) and KQED Public Television.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/43/screaming-queens","authors":["8666"],"programs":["trulyca_771"],"series":["trulyca_3"],"categories":["trulyca_38","trulyca_21"],"tags":["trulyca_123","trulyca_124","trulyca_128","trulyca_70","trulyca_90","trulyca_122","trulyca_120","trulyca_119","trulyca_69","trulyca_97","trulyca_505","trulyca_88","trulyca_82","trulyca_761","trulyca_126","trulyca_125","trulyca_121","trulyca_127","trulyca_99","trulyca_28"],"collections":["trulyca_81","trulyca_80"],"featImg":"trulyca_2532","label":"trulyca_771"},"trulyca_47":{"type":"posts","id":"trulyca_47","meta":{"index":"posts_1716263798","site":"trulyca","id":"47","score":null,"sort":[1131904800000]},"parent":0,"labelTerm":{"site":"trulyca","term":3},"blocks":[],"publishDate":1131904800,"format":"quote","disqusTitle":"Let All the Stories Be Told","title":"Let All the Stories Be Told","headTitle":"Season 1 | Truly CA | KQED Arts","content":"\u003cp>\"TO WHOMEVER FINDS THIS NOTE: Collect all the tapes, all the writing, all the history. The story of this moment, of this action, must be examined over and over. It must be understood in all of its incredible dimensions. Let all the story of this People's Temple be told. Let all the books be opened. If nobody understands, it matters not. I am ready to die now. Darkness settles over Jonestown on our last day on earth.\"\u003cbr>\n-From a handwritten letter found recently in the People's Temple FBI files at the California Historical Society.\u003c/p>\n\u003cp>On November 18th, 1978, college students David Dower and his future wife Denice Stephenson were shocked by breaking news reports that several hundred Americans had been found dead in the jungles of Guyana, apparent victims of a mass suicide. The dead were identified as 913 residents of the agricultural project called Jonestown, led by the Reverend Jim Jones. Jones was the charismatic leader of The People's Temple -- a radical interracial religious group that had recently fled the Bay Area amidst scandalous reports about the group in the local press and Jones' subsequent paranoia. Twenty-five years later, the exact circumstances of the mass murder-suicide at Jonestown remained shrouded in mystery and controversy.\u003c/p>\n\u003cp>After college, Dower moved to the San Francisco Bay Area and embarked on a career in theater, first as an actor, eventually as artistic director of Z Space Studio, a theatrical development organization in San Francisco. Over the years, he was drawn back to the story of Jonestown again and again, searching for the meaning of the mind numbing tragedy there, and a way to present it in a theatrical context. With its tangled web of conflicting eyewitness accounts, the story is daunting in its scope and complexity. Whose version of the truth should be presented? How could any re-telling move the audience beyond their horror and fascination with the morbid details of the murder/suicide, to a more insightful understanding of why and how it happened?\u003c/p>\n\u003cp>In January of 2001, Dower commissioned Leigh Fondakowski, head writer of \u003cb>The Laramie Project\u003c/b>, to create and direct a new play about Jonestown. Fondakowski, along with a team of three writers and an archivist, began by combing through the collection of People's Temple materials at the California Historical Society, where they unearthed oral histories taken in Jonestown. They learned that 80 people survived that day in Guyana and that there were hundreds of members of the People's Temple who were residing in the United States at the time of the tragedy. But where were these people now, 25 years later, and would they be willing to open up the wounds of the past to share their stories and insights?\u003c/p>\n\u003cp>For nearly two years, Fondakowski and her team worked tirelessly to locate and gain the trust of dozens of Jonestown survivors, People's Temple members and victims' families. They went on to conduct hundreds of hours of interviews. The verbatim words of those interviews along with documents and letters discovered in the archive would eventually comprise the entire text of the play, The People's Temple.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"You can't imagine you know all the guilt I feel about the decisions I made, if I'd made others it might have saved lives, might of changed events ... if I'd only done this -- if I'd only known ... you know, pile on to that how poorly I loved the people in my life when they were alive, you know, and then to lose them just like that -- they're gone. We never believed Dad would go through with that you know and like looking back, that's pretty -- delusional. But, you just have to know the whole story -- you just have to know my father.\"\u003cbr>\n-from an interview with Stephan Jones, the son of Jim Jones\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, it took Fondakowski and her team nearly four years to develop the script -- a process that entailed conducting work-in-progress readings with actors in cities on both coasts, with highly vocal audiences that included survivors who are portrayed by actors on stage. The process of collecting new interview material, soliciting responses from audiences, and editing and adding to the script continued right up until the time that the play premiered at the Berkeley Repertory Theatre in April 2005.\u003c/p>\n\n","disqusIdentifier":"47 http://kqed2.wsmtechs.net/trulyca/let-all-the-stories-be-told/","disqusUrl":"https://ww2.kqed.org/trulyca/let-all-the-stories-be-told/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":726,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":9},"modified":1538420462,"excerpt":"\u003cstrong> Let All the Stories Be Told\u003c/strong> follows a group of theater artists from the beginning stages of a work -- based on the 1978 mass murder/suicide by members of the Peoples Temple in Jonestown, Guyana -- to opening night at the Berkeley Repertory Theater.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":" Let All the Stories Be Told follows a group of theater artists from the beginning stages of a work -- based on the 1978 mass murder/suicide by members of the Peoples Temple in Jonestown, Guyana -- to opening night at the Berkeley Repertory Theater.","title":"Let All the Stories Be Told | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Let All the Stories Be Told","datePublished":"2005-11-13T10:00:00-08:00","dateModified":"2018-10-01T12:01:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"let-all-the-stories-be-told","status":"publish","originalAirdate":"November 13, 2005","path":"/trulyca/47/let-all-the-stories-be-told","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"TO WHOMEVER FINDS THIS NOTE: Collect all the tapes, all the writing, all the history. The story of this moment, of this action, must be examined over and over. It must be understood in all of its incredible dimensions. Let all the story of this People's Temple be told. Let all the books be opened. If nobody understands, it matters not. I am ready to die now. Darkness settles over Jonestown on our last day on earth.\"\u003cbr>\n-From a handwritten letter found recently in the People's Temple FBI files at the California Historical Society.\u003c/p>\n\u003cp>On November 18th, 1978, college students David Dower and his future wife Denice Stephenson were shocked by breaking news reports that several hundred Americans had been found dead in the jungles of Guyana, apparent victims of a mass suicide. The dead were identified as 913 residents of the agricultural project called Jonestown, led by the Reverend Jim Jones. Jones was the charismatic leader of The People's Temple -- a radical interracial religious group that had recently fled the Bay Area amidst scandalous reports about the group in the local press and Jones' subsequent paranoia. Twenty-five years later, the exact circumstances of the mass murder-suicide at Jonestown remained shrouded in mystery and controversy.\u003c/p>\n\u003cp>After college, Dower moved to the San Francisco Bay Area and embarked on a career in theater, first as an actor, eventually as artistic director of Z Space Studio, a theatrical development organization in San Francisco. Over the years, he was drawn back to the story of Jonestown again and again, searching for the meaning of the mind numbing tragedy there, and a way to present it in a theatrical context. With its tangled web of conflicting eyewitness accounts, the story is daunting in its scope and complexity. Whose version of the truth should be presented? How could any re-telling move the audience beyond their horror and fascination with the morbid details of the murder/suicide, to a more insightful understanding of why and how it happened?\u003c/p>\n\u003cp>In January of 2001, Dower commissioned Leigh Fondakowski, head writer of \u003cb>The Laramie Project\u003c/b>, to create and direct a new play about Jonestown. Fondakowski, along with a team of three writers and an archivist, began by combing through the collection of People's Temple materials at the California Historical Society, where they unearthed oral histories taken in Jonestown. They learned that 80 people survived that day in Guyana and that there were hundreds of members of the People's Temple who were residing in the United States at the time of the tragedy. But where were these people now, 25 years later, and would they be willing to open up the wounds of the past to share their stories and insights?\u003c/p>\n\u003cp>For nearly two years, Fondakowski and her team worked tirelessly to locate and gain the trust of dozens of Jonestown survivors, People's Temple members and victims' families. They went on to conduct hundreds of hours of interviews. The verbatim words of those interviews along with documents and letters discovered in the archive would eventually comprise the entire text of the play, The People's Temple.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"You can't imagine you know all the guilt I feel about the decisions I made, if I'd made others it might have saved lives, might of changed events ... if I'd only done this -- if I'd only known ... you know, pile on to that how poorly I loved the people in my life when they were alive, you know, and then to lose them just like that -- they're gone. We never believed Dad would go through with that you know and like looking back, that's pretty -- delusional. But, you just have to know the whole story -- you just have to know my father.\"\u003cbr>\n-from an interview with Stephan Jones, the son of Jim Jones\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, it took Fondakowski and her team nearly four years to develop the script -- a process that entailed conducting work-in-progress readings with actors in cities on both coasts, with highly vocal audiences that included survivors who are portrayed by actors on stage. The process of collecting new interview material, soliciting responses from audiences, and editing and adding to the script continued right up until the time that the play premiered at the Berkeley Repertory Theatre in April 2005.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/47/let-all-the-stories-be-told","authors":["8666"],"series":["trulyca_3"],"categories":["trulyca_21","trulyca_34","trulyca_35"],"tags":["trulyca_90","trulyca_606","trulyca_604","trulyca_83","trulyca_602","trulyca_603","trulyca_60","trulyca_607","trulyca_601","trulyca_605","trulyca_350","trulyca_99","trulyca_28"],"featImg":"trulyca_2798","label":"trulyca_3"},"trulyca_46":{"type":"posts","id":"trulyca_46","meta":{"index":"posts_1716263798","site":"trulyca","id":"46","score":null,"sort":[1128272400000]},"parent":0,"labelTerm":{"site":"trulyca","term":3},"blocks":[],"publishDate":1128272400,"format":"quote","disqusTitle":"Art and Life","title":"Art and Life","headTitle":"Season 1 | Truly CA | KQED Arts","content":"\u003cp>An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, \u003cb>Art and Life: Finding the Thread\u003c/b> offers a unique perspective on the human experience. Shot by the well-known Russian documentary filmmaker Marina Goldovskaya over the course of six years, the film moves effortlessly between the intimate and public worlds Sellars occupies, carrying on a thought-provoking dialogue that stays with the viewer long after the last images have faded from view.\u003c/p>\n\u003cp>Various aspects of Sellars's multifaceted life are carefully and respectfully portrayed in Goldovskaya's trademark cinematographic style. The film begins with an intimate tea-making ceremony at Sellars's beloved home, which quickly becomes as dramatic as the rest of his colorful existence. His living space is filled with masks, on which Goldovskaya focuses as a subtle commentary upon the many \"masks\" that Sellars wears: the many worlds he inhabits, the many roles he fills. But masks and masquerades suggest deception, whereas there is a genuine honesty within Sellars, an honesty that is revealed throughout the film. In his quest to connect the disparate threads of art and life, Sellars challenges assumptions, questions authority and stays true to himself. His artistic integrity is inexorably tied to the integrity and passion with which he operates on a daily basis.\u003c/p>\n\u003cp>The film's exploration of Sellars's worlds continues as the camera captures his participation in various public ceremonies as part of his teaching at UCLA. An obviously brilliant teacher, Sellars challenges his students to think for themselves, then to go beyond that to put those thoughts into action.\u003c/p>\n\u003cp>Sellars's activism and his unique approach to theater are showcased during the filmed rehearsals of his production of Jean Genet's rarely performed play \u003cb>The Screens,\u003c/b> adapted by poet Gloria Alvarez to fit the politically charged climate of East Los Angeles. The cast members, mostly nonprofessional actors drawn from the local Boyle Heights community, grow and change during the course of the production, indelibly affected in a way that resonates years later as Goldovskaya returns to film a moving reunion.\u003c/p>\n\u003cp>Students, colleagues and friends all speak of Sellars with a deep respect and love that cannot be hidden. But it is when he speaks for himself, as he does through much of the film, that the self-styled \"elusive\" Sellars becomes uniquely approachable and passionately human. Animated and mobile, when seen through Goldovskaya's inquisitive lens, Sellars is like a puzzle box with numerous compartments, revealing an inner complexity and beauty that hint at even greater depths. Though Sellars denies there is a unifying thread that can be pulled through the body of the film, he himself is that thread -- his passion, his individuality, his creativity, his commitment to social issues all shine through like a bright inner light to illuminate the lives of those around him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","disqusIdentifier":"46 http://kqed2.wsmtechs.net/trulyca/art-and-life/","disqusUrl":"https://ww2.kqed.org/trulyca/art-and-life/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":478,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":7},"modified":1538419830,"excerpt":"An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, \u003cstrong> Art and Life: Finding the Thread\u003c/strong> offers a unique perspective on the human experience.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, Art and Life: Finding the Thread offers a unique perspective on the human experience.","title":"Art and Life | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Art and Life","datePublished":"2005-10-02T10:00:00-07:00","dateModified":"2018-10-01T11:50:30-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"art-and-life","status":"publish","originalAirdate":"October 2, 2005","path":"/trulyca/46/art-and-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, \u003cb>Art and Life: Finding the Thread\u003c/b> offers a unique perspective on the human experience. Shot by the well-known Russian documentary filmmaker Marina Goldovskaya over the course of six years, the film moves effortlessly between the intimate and public worlds Sellars occupies, carrying on a thought-provoking dialogue that stays with the viewer long after the last images have faded from view.\u003c/p>\n\u003cp>Various aspects of Sellars's multifaceted life are carefully and respectfully portrayed in Goldovskaya's trademark cinematographic style. The film begins with an intimate tea-making ceremony at Sellars's beloved home, which quickly becomes as dramatic as the rest of his colorful existence. His living space is filled with masks, on which Goldovskaya focuses as a subtle commentary upon the many \"masks\" that Sellars wears: the many worlds he inhabits, the many roles he fills. But masks and masquerades suggest deception, whereas there is a genuine honesty within Sellars, an honesty that is revealed throughout the film. In his quest to connect the disparate threads of art and life, Sellars challenges assumptions, questions authority and stays true to himself. His artistic integrity is inexorably tied to the integrity and passion with which he operates on a daily basis.\u003c/p>\n\u003cp>The film's exploration of Sellars's worlds continues as the camera captures his participation in various public ceremonies as part of his teaching at UCLA. An obviously brilliant teacher, Sellars challenges his students to think for themselves, then to go beyond that to put those thoughts into action.\u003c/p>\n\u003cp>Sellars's activism and his unique approach to theater are showcased during the filmed rehearsals of his production of Jean Genet's rarely performed play \u003cb>The Screens,\u003c/b> adapted by poet Gloria Alvarez to fit the politically charged climate of East Los Angeles. The cast members, mostly nonprofessional actors drawn from the local Boyle Heights community, grow and change during the course of the production, indelibly affected in a way that resonates years later as Goldovskaya returns to film a moving reunion.\u003c/p>\n\u003cp>Students, colleagues and friends all speak of Sellars with a deep respect and love that cannot be hidden. But it is when he speaks for himself, as he does through much of the film, that the self-styled \"elusive\" Sellars becomes uniquely approachable and passionately human. Animated and mobile, when seen through Goldovskaya's inquisitive lens, Sellars is like a puzzle box with numerous compartments, revealing an inner complexity and beauty that hint at even greater depths. Though Sellars denies there is a unifying thread that can be pulled through the body of the film, he himself is that thread -- his passion, his individuality, his creativity, his commitment to social issues all shine through like a bright inner light to illuminate the lives of those around him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/46/art-and-life","authors":["8666"],"series":["trulyca_3"],"categories":["trulyca_21","trulyca_35","trulyca_29"],"tags":["trulyca_86","trulyca_626","trulyca_64","trulyca_83","trulyca_256","trulyca_60","trulyca_627","trulyca_629","trulyca_149","trulyca_628","trulyca_350","trulyca_99","trulyca_28"],"featImg":"trulyca_2795","label":"trulyca_3"},"trulyca_45":{"type":"posts","id":"trulyca_45","meta":{"index":"posts_1716263798","site":"trulyca","id":"45","score":null,"sort":[1127667600000]},"parent":0,"labelTerm":{"site":"trulyca","term":3},"blocks":[],"publishDate":1127667600,"format":"quote","disqusTitle":"No Sweat","title":"No Sweat","headTitle":"Season 1 | Truly CA | KQED Arts","content":"\u003cp>Dark and dingy factories. Women and children working, elbow to elbow, hunched over machines. Nike. Guess. Kathy Lee Gifford. Sweatshops are an all too familiar story, operating both in the United States and overseas. But does the fashion industry always have to be linked to worker exploitation?\u003c/p>\n\u003cp>Enter SweatX and American Apparel, two hip new clothing manufacturers that operate in downtown Los Angeles, just blocks from each other. Both companies are committed to creating \"sweat-shop-free\" clothing by ensuring workers earn livable wages, receive benefits and work in a safe environment. SweatX is backed by $1.5 million in venture capital from progressive ice-cream maker Ben Cohen, co-founder of Ben & Jerry's. American Apparel was built from the ground up by eccentric Canadian immigrant Dov Charney.\u003c/p>\n\u003cp>\u003cb>No Sweat\u003c/b> follows these two very different companies for one year, comparing their leadership and business practices, documenting a union drive, and zeroing in on the hopes and dreams of the garment workers themselves. The film investigates whether these companies can actually survive in the tight economic conditions that have sent so much of their competition overseas.\u003c/p>\n\u003cp>The documentary is a refreshingly honest and wild ride into the bowels of an industry that is notorious for its exploitation of mostly poor, immigrant women. From panties to politics, feminism to machismo, globalization and classic T-shirts (check your closet -- you probably already own one), \u003cb>No Sweat\u003c/b> is a promiscuous, playful, nonpompous, non-politically-correct film -- the first portrait of the people behind the companies producing the next huge American clothing revolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","disqusIdentifier":"45 http://kqed2.wsmtechs.net/trulyca/no-sweat/","disqusUrl":"https://ww2.kqed.org/trulyca/no-sweat/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":262,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":6},"modified":1538419353,"excerpt":"\u003cstrong> No Sweat\u003c/strong> features two, young companies committed to creating \"sweat-shop-free\" clothing in an industry notorious for its exploitation of mostly poor, immigrant women.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":" No Sweat features two, young companies committed to creating "sweat-shop-free" clothing in an industry notorious for its exploitation of mostly poor, immigrant women.","title":"No Sweat | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"No Sweat","datePublished":"2005-09-25T10:00:00-07:00","dateModified":"2018-10-01T11:42:33-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"no-sweat","status":"publish","originalAirdate":"September 25, 2005","path":"/trulyca/45/no-sweat","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dark and dingy factories. Women and children working, elbow to elbow, hunched over machines. Nike. Guess. Kathy Lee Gifford. Sweatshops are an all too familiar story, operating both in the United States and overseas. But does the fashion industry always have to be linked to worker exploitation?\u003c/p>\n\u003cp>Enter SweatX and American Apparel, two hip new clothing manufacturers that operate in downtown Los Angeles, just blocks from each other. Both companies are committed to creating \"sweat-shop-free\" clothing by ensuring workers earn livable wages, receive benefits and work in a safe environment. SweatX is backed by $1.5 million in venture capital from progressive ice-cream maker Ben Cohen, co-founder of Ben & Jerry's. American Apparel was built from the ground up by eccentric Canadian immigrant Dov Charney.\u003c/p>\n\u003cp>\u003cb>No Sweat\u003c/b> follows these two very different companies for one year, comparing their leadership and business practices, documenting a union drive, and zeroing in on the hopes and dreams of the garment workers themselves. The film investigates whether these companies can actually survive in the tight economic conditions that have sent so much of their competition overseas.\u003c/p>\n\u003cp>The documentary is a refreshingly honest and wild ride into the bowels of an industry that is notorious for its exploitation of mostly poor, immigrant women. From panties to politics, feminism to machismo, globalization and classic T-shirts (check your closet -- you probably already own one), \u003cb>No Sweat\u003c/b> is a promiscuous, playful, nonpompous, non-politically-correct film -- the first portrait of the people behind the companies producing the next huge American clothing revolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/45/no-sweat","authors":["8666"],"series":["trulyca_3"],"categories":["trulyca_21"],"tags":["trulyca_609","trulyca_90","trulyca_610","trulyca_256","trulyca_60","trulyca_373","trulyca_95","trulyca_612","trulyca_611","trulyca_608","trulyca_99","trulyca_613","trulyca_28"],"featImg":"trulyca_2792","label":"trulyca_3"},"trulyca_44":{"type":"posts","id":"trulyca_44","meta":{"index":"posts_1716263798","site":"trulyca","id":"44","score":null,"sort":[1122224400000]},"parent":0,"labelTerm":{"site":"trulyca","term":3},"blocks":[],"publishDate":1122224400,"format":"quote","disqusTitle":"A Home on the Range","title":"A Home on the Range","headTitle":"Season 1 | Truly CA | KQED Arts","content":"\u003cp>Jack London, California vigilantes, McCarthyism, the Cold War and agribusiness come to life in \u003cb>A Home on the Range: The Jewish Chicken Ranchers of Petaluma\u003c/b>, a quintessentially American story of how a community of immigrants found a new home in California.\u003c/p>\n\u003cp>The film tells the little-known story of Jews who fled the pogroms and hardships of Eastern Europe, endured sweatshops in New York, joined the labor movement, and surprisingly, gravitated towards a small town in Northern California to raise chickens. Even in the sweatshops of New York Jews had heard about Petaluma where the Jews were not shopkeepers and professionals, but rather, they were the farmers.\u003c/p>\n\u003cp>\u003cb>A Home on the Range\u003c/b> introduces a fractious, idealistic, and intrepid group of Eastern European Jews and their descendants as they confront obstacles of language and culture on their journey towards becoming Americans. These immigrants were searching for a better life in California, but weathered their fair share of hard knocks along the way. They survived the Depression, confronted racism and political turmoil and took on the agribusiness industry.\u003c/p>\n\u003cp>\u003cb>A Home on the Range\u003c/b> combines in-depth interviews with home movies, newspaper articles, and archival footage to recreate the flavor of this lively ranching community in which agrarian aspirations, progressive politics and secular Jewish culture all co-existed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","disqusIdentifier":"44 http://kqed2.wsmtechs.net/trulyca/a-home-on-the-range/","disqusUrl":"https://ww2.kqed.org/trulyca/a-home-on-the-range/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":217,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":6},"modified":1538419292,"excerpt":"Jack London, California vigilantes, McCarthyism, the Cold War and agribusiness come to life in \u003cb>A Home on the Range: The Jewish Chicken Ranchers of Petaluma\u003c/b>, a quintessentially American story of how a community of immigrants found a new home in California.\u003cbr />\u003cbr />","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Jack London, California vigilantes, McCarthyism, the Cold War and agribusiness come to life in A Home on the Range: The Jewish Chicken Ranchers of Petaluma, a quintessentially American story of how a community of immigrants found a new home in California.","title":"A Home on the Range | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Home on the Range","datePublished":"2005-07-24T10:00:00-07:00","dateModified":"2018-10-01T11:41:32-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"a-home-on-the-range","status":"publish","originalAirdate":"July 24, 2005","path":"/trulyca/44/a-home-on-the-range","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jack London, California vigilantes, McCarthyism, the Cold War and agribusiness come to life in \u003cb>A Home on the Range: The Jewish Chicken Ranchers of Petaluma\u003c/b>, a quintessentially American story of how a community of immigrants found a new home in California.\u003c/p>\n\u003cp>The film tells the little-known story of Jews who fled the pogroms and hardships of Eastern Europe, endured sweatshops in New York, joined the labor movement, and surprisingly, gravitated towards a small town in Northern California to raise chickens. Even in the sweatshops of New York Jews had heard about Petaluma where the Jews were not shopkeepers and professionals, but rather, they were the farmers.\u003c/p>\n\u003cp>\u003cb>A Home on the Range\u003c/b> introduces a fractious, idealistic, and intrepid group of Eastern European Jews and their descendants as they confront obstacles of language and culture on their journey towards becoming Americans. These immigrants were searching for a better life in California, but weathered their fair share of hard knocks along the way. 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Street vendors are visible inner-city fixtures throughout Latino America, and the Fruitvale district is no different. Here, neighborhood residents rely on street vendors for inexpensive goods and healthy snacks; the street vendors also create a living link with the residents' cultural heritage. \u003cb>Fruit of Labor\u003c/b> shows the important role that street vendors play in preserving a vibrant cultural tradition that knows no borders.\u003c/p>\n\u003cp>At the heart of the film is Santiago \"Chago\" Cazares, a pushcart fruit vendor whose working days begin before dawn at a wholesale produce market, where he purchases fresh fruit for the day's supplies. Chago's story is that of a lesser-known hero, just like many ordinary Americans whose lives infuse this country with a richness that rarely enjoys respect or recognition from mainstream society. Chago has gone from rags to sustainability by selling deliciously colorful goods sprinkled with salt, chile and limon.\u003c/p>\n\u003cp>\u003cb>Fruit of Labor\u003c/b> shines a light on the old-fashioned innocence of one man's pursuit of life, liberty and happiness. Following Chago's seemingly mundane daily routine of selling fruit uncovers a complicated world of people, politics and power. Faced by threats of harassment, confiscation and unemployment, Chago responds with patience, persistence and Mexican ingenuity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","disqusIdentifier":"42 http://kqed2.wsmtechs.net/trulyca/fruit-of-labor/","disqusUrl":"https://ww2.kqed.org/trulyca/fruit-of-labor/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":230,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1538005295,"excerpt":"\u003cstrong> Fruit of Labor\u003c/strong> shows the important role that street vendors play in preserving a vibrant cultural tradition in the Fruitvale district of Oakland.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":" Fruit of Labor shows the important role that street vendors play in preserving a vibrant cultural tradition in the Fruitvale district of Oakland.","title":"Fruit of Labor | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fruit of Labor","datePublished":"2005-05-22T10:00:00-07:00","dateModified":"2018-09-26T16:41:35-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"fruit-of-labor","status":"publish","originalAirdate":"May 22, 2005","path":"/trulyca/42/fruit-of-labor","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to the Fruitvale district in Oakland -- the ever-expanding home of one of the oldest and largest Latino communities in Northern California. Street vendors are visible inner-city fixtures throughout Latino America, and the Fruitvale district is no different. Here, neighborhood residents rely on street vendors for inexpensive goods and healthy snacks; the street vendors also create a living link with the residents' cultural heritage. \u003cb>Fruit of Labor\u003c/b> shows the important role that street vendors play in preserving a vibrant cultural tradition that knows no borders.\u003c/p>\n\u003cp>At the heart of the film is Santiago \"Chago\" Cazares, a pushcart fruit vendor whose working days begin before dawn at a wholesale produce market, where he purchases fresh fruit for the day's supplies. Chago's story is that of a lesser-known hero, just like many ordinary Americans whose lives infuse this country with a richness that rarely enjoys respect or recognition from mainstream society. 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Faced by threats of harassment, confiscation and unemployment, Chago responds with patience, persistence and Mexican ingenuity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/42/fruit-of-labor","authors":["8666"],"series":["trulyca_3"],"categories":["trulyca_21"],"tags":["trulyca_105","trulyca_220","trulyca_90","trulyca_83","trulyca_236","trulyca_256","trulyca_620","trulyca_622","trulyca_623","trulyca_60","trulyca_132","trulyca_131","trulyca_621","trulyca_147","trulyca_619","trulyca_624","trulyca_625","trulyca_99","trulyca_28"],"featImg":"trulyca_2713","label":"trulyca_3"},"trulyca_41":{"type":"posts","id":"trulyca_41","meta":{"index":"posts_1716263798","site":"trulyca","id":"41","score":null,"sort":[1114362000000]},"parent":0,"labelTerm":{"site":"trulyca","term":3},"blocks":[],"publishDate":1114362000,"format":"quote","disqusTitle":"Counting Sheep","title":"Counting Sheep","headTitle":"Season 1 | Truly CA | KQED Arts","content":"\u003cp>\u003cem>\u003cb>Counting Sheep\u003c/b>\u003c/em> chronicles the struggle for survival of the wild Sierra Nevada bighorn sheep, a majestic emblem of American wilderness. Filmed over the course of 11 years, \u003cb>Counting Sheep\u003c/b> is the first film ever of the Sierra bighorn, and it captures the plight of this noble creature -- one of the most endangered mammals of North America -- with dynamic interviews and exquisite footage. At the heart of the film lies the tenacity of the biologists and environmentalists who fight to conserve the bighorn in the face of disease, harsh winters and predation by mountain lions. At stake is the future of a species.\u003c/p>\n\u003cp>The two people most responsible for protecting the bighorn are unlikely allies: biologist John Wehausen, Ph.D., and mountain lion tracker Jeff Davis. Wehausen, who has an apparently inexhaustible supply of energy, is the godfather of the Sierra Nevada bighorn. He has studied bighorn sheep for decades, observing the elusive bighorns from the rocky ledges of the Sierra and collecting their bones and genotyping them. Wehausen worked tirelessly with the National Defense Resource Council to have the Sierra Nevada bighorn sheep placed on the federal list of endangered wildlife and plants.\u003c/p>\n\u003cp>Davis, along with his wife Vicki, is a trapper turned mountain lion tracker. A modern-day frontiersman who spent much of his youth on the rodeo circuit, Davis tracks lions with hounds so that the lions can be radio-collared. Both Davis and his wife are passionate about the survival of the bighorn and are concerned about the natural legacy they will leave for their grandchildren.\u003c/p>\n\u003cp>The bighorn sheep live from 10,000 to 13,000 feet above sea level, on the snow-dusted crags of the eastern Sierra Nevada mountains -- when seen from a distance in their natural habitat, they are said to look like rocks with legs. Once numbering in the thousands, prolific numbers of bighorn sheep died in the 1800s from disease transmitted by domestic sheep. By 1998, the number of Sierra Nevada bighorns had dropped to 100. The state of California's protection of mountain lions, which prey on the wild sheep, further complicates the efforts to save the bighorn. Then in 1999, the bighorn won federal emergency endangered species status, trumping the protection that California voters had given to the mountain lions.\u003c/p>\n\u003cp>Every mountain lion in the thousands of acres of the Sierra bighorn range is now collared and monitored, a heroic task. Davis must pull the trigger on those rare lions that can be shown to threaten bighorns. Removing lions stirs much conflict -- the public often does not understand the difference between animal rights and conservation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Counting Sheep\u003c/b> is a compelling portrait of an endangered species and the unusual collaboration between the scientists, trackers, ranchers and politicians who are working to ensure the bighorn's continued existence. The film raises thorny questions about animal rights and conservation, the importance of larger ecosystems, and the delicate quest for coexistence.\u003c/p>\n\n","disqusIdentifier":"41 http://kqed2.wsmtechs.net/trulyca/counting-sheep/","disqusUrl":"https://ww2.kqed.org/trulyca/counting-sheep/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":489,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":8},"modified":1538004804,"excerpt":"\u003cstrong> Counting Sheep\u003c/strong> chronicles the struggle for survival of the wild Sierra Nevada bighorn sheep, a majestic emblem of American wilderness.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":" Counting Sheep chronicles the struggle for survival of the wild Sierra Nevada bighorn sheep, a majestic emblem of American wilderness.","title":"Counting Sheep | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Counting Sheep","datePublished":"2005-04-24T10:00:00-07:00","dateModified":"2018-09-26T16:33:24-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"counting-sheep","status":"publish","originalAirdate":"April 24, 2005","path":"/trulyca/41/counting-sheep","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cb>Counting Sheep\u003c/b>\u003c/em> chronicles the struggle for survival of the wild Sierra Nevada bighorn sheep, a majestic emblem of American wilderness. Filmed over the course of 11 years, \u003cb>Counting Sheep\u003c/b> is the first film ever of the Sierra bighorn, and it captures the plight of this noble creature -- one of the most endangered mammals of North America -- with dynamic interviews and exquisite footage. At the heart of the film lies the tenacity of the biologists and environmentalists who fight to conserve the bighorn in the face of disease, harsh winters and predation by mountain lions. At stake is the future of a species.\u003c/p>\n\u003cp>The two people most responsible for protecting the bighorn are unlikely allies: biologist John Wehausen, Ph.D., and mountain lion tracker Jeff Davis. Wehausen, who has an apparently inexhaustible supply of energy, is the godfather of the Sierra Nevada bighorn. He has studied bighorn sheep for decades, observing the elusive bighorns from the rocky ledges of the Sierra and collecting their bones and genotyping them. Wehausen worked tirelessly with the National Defense Resource Council to have the Sierra Nevada bighorn sheep placed on the federal list of endangered wildlife and plants.\u003c/p>\n\u003cp>Davis, along with his wife Vicki, is a trapper turned mountain lion tracker. A modern-day frontiersman who spent much of his youth on the rodeo circuit, Davis tracks lions with hounds so that the lions can be radio-collared. Both Davis and his wife are passionate about the survival of the bighorn and are concerned about the natural legacy they will leave for their grandchildren.\u003c/p>\n\u003cp>The bighorn sheep live from 10,000 to 13,000 feet above sea level, on the snow-dusted crags of the eastern Sierra Nevada mountains -- when seen from a distance in their natural habitat, they are said to look like rocks with legs. Once numbering in the thousands, prolific numbers of bighorn sheep died in the 1800s from disease transmitted by domestic sheep. 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Removing lions stirs much conflict -- the public often does not understand the difference between animal rights and conservation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Counting Sheep\u003c/b> is a compelling portrait of an endangered species and the unusual collaboration between the scientists, trackers, ranchers and politicians who are working to ensure the bighorn's continued existence. The film raises thorny questions about animal rights and conservation, the importance of larger ecosystems, and the delicate quest for coexistence.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/41/counting-sheep","authors":["8666"],"series":["trulyca_3"],"categories":["trulyca_43","trulyca_21"],"tags":["trulyca_265","trulyca_587","trulyca_590","trulyca_256","trulyca_586","trulyca_60","trulyca_588","trulyca_589","trulyca_99","trulyca_28"],"featImg":"trulyca_2711","label":"trulyca_3"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. 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