So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?
In ‘The 50,’ Incarcerated Men Become Mentors
A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten
‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach
At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era
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FM","link":"/"}},"arts_13956374":{"type":"posts","id":"arts_13956374","meta":{"index":"posts_1591205157","site":"arts","id":"13956374","score":null,"sort":[1713893938000]},"guestAuthors":[],"slug":"new-the-jinx-part-two-hbo-max-review-robert-durst-confession","title":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","publishDate":1713893938,"format":"standard","headTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>[aside postid='arts_11299066']These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ShYl5K8Nlq8\u003c/p>\n\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>[aside postid='arts_13955854']The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Nine years ago, HBO’s ‘The Jinx’ played a role in the arrest of Robert Durst. Now its follow-up is grasping for revelations.","status":"publish","parent":0,"modified":1713893938,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":837},"headData":{"title":"Review: ‘The Jinx - Part Two’ Doesn’t Offer Much New Information | KQED","description":"Nine years ago, HBO’s ‘The Jinx’ played a role in the arrest of Robert Durst. Now its follow-up is grasping for revelations.","ogTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","ogDescription":"","ogImgId":"","twTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","twDescription":"","twImgId":"","socialTitle":"Review: ‘The Jinx - Part Two’ Doesn’t Offer Much New Information %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","datePublished":"2024-04-23T17:38:58.000Z","dateModified":"2024-04-23T17:38:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"HBO","nprStoryId":"1245787366","nprApiLink":"http://api.npr.org/query?id=1245787366&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/20/1245787366/the-jinx-part-two-review-robert-durst-murder?ft=nprml&f=1245787366","nprRetrievedStory":"1","nprPubDate":"Sat, 20 Apr 2024 07:01:00 -0400","nprStoryDate":"Sat, 20 Apr 2024 07:01:14 -0400","nprLastModifiedDate":"Sat, 20 Apr 2024 07:01:14 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956374/new-the-jinx-part-two-hbo-max-review-robert-durst-confession","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11299066","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ShYl5K8Nlq8'\n title='//www.youtube.com/embed/ShYl5K8Nlq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\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>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955854","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956374/new-the-jinx-part-two-hbo-max-review-robert-durst-confession","authors":["byline_arts_13956374"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_21958","arts_8350","arts_20624","arts_769","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13956375","label":"arts_140"},"arts_13956038":{"type":"posts","id":"arts_13956038","meta":{"index":"posts_1591205157","site":"arts","id":"13956038","score":null,"sort":[1713297202000]},"guestAuthors":[],"slug":"in-the-50-incarcerated-men-become-mentors","title":"In ‘The 50,’ Incarcerated Men Become Mentors","publishDate":1713297202,"format":"standard","headTitle":"In ‘The 50,’ Incarcerated Men Become Mentors | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>One of the most important parts of community healing is assisting individuals directly, one-on-one. And a key aspect for those looking to heal themselves? Helping others.\u003c/p>\n\u003cp>This is as true for the world at large as it is for people who are incarcerated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brentongieser.com/\" target=\"_blank\" rel=\"noopener\">Brenton Gieser\u003c/a>’s documentary film, \u003ci>\u003ca href=\"https://www.the50film.com/\" target=\"_blank\" rel=\"noopener\">The 50\u003c/a>\u003c/i>, currently streaming on Apple TV and Amazon Prime and \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\" target=\"_blank\" rel=\"noopener\">screening at the New Parkway Theatre\u003c/a> in Oakland on April 19, hones in on this idea of mutual assistance by highlighting \u003ca href=\"https://www.cdcr.ca.gov/insidecdcr/2014/04/30/offender-mentor-certification-teaches-inmates-to-help-themselves-others/\" target=\"_blank\" rel=\"noopener\">California’s Offender Mentor Certificate Program (OMPC)\u003c/a> and a few of the men who’ve gone through it.\u003c/p>\n\u003cfigure id=\"attachment_13956043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956043 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg\" alt=\"A scene from the film, 'The 50,' shows a room where men are dressed in state-issued prison clothing while sitting in a circle of chairs and holding a discussion. \" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The 50’ shows men sitting in a circle, sharing thoughts about the healing process. \u003ccite>(Via Brenton Grieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within the film’s first 15 minutes, viewers are brought into the California State Prison in Solano, where the first OMCP program began in 2008. The mentorship program uses the “parallel process,” where men are encouraged to work through their own traumas while simultaneously assisting others. It’s exemplified by people like Anthony Hill, a mentor who is also incarcerated.\u003c/p>\n\u003cp>As he stands in front of a class, Hill illustrates a pyramid on a dry-erase board and identifies common roadblocks people face in addition to the “junk” that informs a person’s core beliefs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way I was raised affects the way I think,” Hill says to a room of other men in blue shirts. “And the way I think is the way I behave, right?” Heads nod as he pinpoints the issues of maintaining a certain image and yearning for acceptance as the catalyst to many peoples’ misguided actions.\u003c/p>\n\u003cp>Hill believes that people are not inherently bad, but rather misled or misinformed by core beliefs gone awry due to childhood trauma. But there’s a solution: on the bottom of the pyramid, Hill adds a layer. “Up under here is some good stuff, because there’s good in everybody,” he says before going around the room, making eye contact and letting each individual know that he sees the good in them.\u003c/p>\n\u003cfigure id=\"attachment_13956044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956044 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16%E2%80%AFAM-800x394.png\" alt=\"Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-800x394.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1020x502.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-768x378.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1536x756.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-2048x1007.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1920x944.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling out this “good stuff” that hides beneath our learned behavior is a universal idea.\u003c/p>\n\u003cp>“We come into this world as — not to get too existential — but as beings that are steeped in goodness,” says filmmaker Brenton Gieser. “And so many people aren’t afforded opportunities to fully actualize that goodness.”\u003c/p>\n\u003cp>Gieser adds that being born into poverty, being of a certain race or inheriting generational family challenges are all obstacles that can make any person deviate from the “good stuff.”\u003c/p>\n\u003cp>“Any level of investigation into our own journeys,” says Gieser, will lead people to “understand moments where innocence was stripped away from us.”\u003c/p>\n\u003cp>At one point, the film’s three main characters Cameron Clark, Al Roensch, and Randy Carter sit down and discuss moments in their childhood where they changed for the worse, while viewers are shown reenactments and visual metaphors related to their stories. Gieser says the goal of these clips isn’t solely to illustrate the stories being told, but to bring audiences into \u003cem>the feeling\u003c/em> of each experience.\u003c/p>\n\u003cfigure id=\"attachment_13956046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956046 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg\" alt=\"A behind the scenes shot of filmmaker Brenton Gieser giving directions on the set of the film 'The 50'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of filmmaker Brenton Gieser giving directions on the set of the film ‘The 50.’ \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one scene, Clark opens up about a time he was incarcerated and exchanged photo albums with a person in the cell adjacent to him. After flipping through the images, he soon realized that the person with whom he’d swapped photo albums was the nephew of the man Clark was incarcerated for murdering.\u003c/p>\n\u003cp>Clark recalls the following day, when the two had a meeting. “This dude walks up to me and kneels down on one knee,” says Clark, as the reenactment shows the two congregating in what’s described as a blindspot on the yard. “I’m looking at him, so I kneel down on one knee.”\u003c/p>\n\u003cp>The nephew of the slain man explained how his uncle used to take him to wrestling matches, illustrating the joy they had together — humanizing him. Clark couldn’t handle it, and abruptly excused himself. But even in leaving, the moment stuck with him, pushing him on his path to examine himself and find the “good stuff.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The 50 | Official Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gW0cb_ZHick?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Clark, no longer incarcerated, is now the \u003ca href=\"https://www.dovebayarea.org/our-story\" target=\"_blank\" rel=\"noopener\">Executive Director of D.O.V.E.\u003c/a>, a non-profit focused on preventing crime and helping those formerly incarcerated to successfully return to the larger society.\u003c/p>\n\u003cp>The film ends as Clark speaks to the graduating class of the 8th session of OMPC, on a day that happens to be the program’s 10th anniversary. Clark encourages the men in the audience by saying that the community needs and misses them, and reminds them that there’s a spot for them when they return.\u003c/p>\n\u003cp>As the film trails off from Clarks’ speech and visuals of graduates, images of others who’ve since transitioned out of prison are shown, as well as their professional titles. An interview with Clark plays as he continues his vocal encouragement to those who’ve been through what he’s been through.\u003c/p>\n\u003cp>“We are experts in the field when it comes to loneliness, hurt and pain,” says Clark, noting that with the right support these people who’ve been incarcerated, who are now mentors and non-profit workers, could go so much further. “We could ultimately become the greatest healers of our society.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 50’ screens on Friday, April 19, at 6 p.m., the New Parkway Theater in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"How a new approach to trauma helps incarcerated men guide the younger generation — and heal themselves.","status":"publish","parent":0,"modified":1713297202,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1006},"headData":{"title":"In ‘The 50,’ Incarcerated Men Become Mentors | KQED","description":"How a new approach to trauma helps incarcerated men guide the younger generation — and heal themselves.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘The 50,’ Incarcerated Men Become Mentors","datePublished":"2024-04-16T19:53:22.000Z","dateModified":"2024-04-16T19:53:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956038/in-the-50-incarcerated-men-become-mentors","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most important parts of community healing is assisting individuals directly, one-on-one. And a key aspect for those looking to heal themselves? Helping others.\u003c/p>\n\u003cp>This is as true for the world at large as it is for people who are incarcerated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brentongieser.com/\" target=\"_blank\" rel=\"noopener\">Brenton Gieser\u003c/a>’s documentary film, \u003ci>\u003ca href=\"https://www.the50film.com/\" target=\"_blank\" rel=\"noopener\">The 50\u003c/a>\u003c/i>, currently streaming on Apple TV and Amazon Prime and \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\" target=\"_blank\" rel=\"noopener\">screening at the New Parkway Theatre\u003c/a> in Oakland on April 19, hones in on this idea of mutual assistance by highlighting \u003ca href=\"https://www.cdcr.ca.gov/insidecdcr/2014/04/30/offender-mentor-certification-teaches-inmates-to-help-themselves-others/\" target=\"_blank\" rel=\"noopener\">California’s Offender Mentor Certificate Program (OMPC)\u003c/a> and a few of the men who’ve gone through it.\u003c/p>\n\u003cfigure id=\"attachment_13956043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956043 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg\" alt=\"A scene from the film, 'The 50,' shows a room where men are dressed in state-issued prison clothing while sitting in a circle of chairs and holding a discussion. \" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Solano-State-Prison-OMCP-group-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The 50’ shows men sitting in a circle, sharing thoughts about the healing process. \u003ccite>(Via Brenton Grieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within the film’s first 15 minutes, viewers are brought into the California State Prison in Solano, where the first OMCP program began in 2008. The mentorship program uses the “parallel process,” where men are encouraged to work through their own traumas while simultaneously assisting others. It’s exemplified by people like Anthony Hill, a mentor who is also incarcerated.\u003c/p>\n\u003cp>As he stands in front of a class, Hill illustrates a pyramid on a dry-erase board and identifies common roadblocks people face in addition to the “junk” that informs a person’s core beliefs.\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>“The way I was raised affects the way I think,” Hill says to a room of other men in blue shirts. “And the way I think is the way I behave, right?” Heads nod as he pinpoints the issues of maintaining a certain image and yearning for acceptance as the catalyst to many peoples’ misguided actions.\u003c/p>\n\u003cp>Hill believes that people are not inherently bad, but rather misled or misinformed by core beliefs gone awry due to childhood trauma. But there’s a solution: on the bottom of the pyramid, Hill adds a layer. “Up under here is some good stuff, because there’s good in everybody,” he says before going around the room, making eye contact and letting each individual know that he sees the good in them.\u003c/p>\n\u003cfigure id=\"attachment_13956044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956044 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16%E2%80%AFAM-800x394.png\" alt=\"Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-800x394.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1020x502.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-768x378.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1536x756.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-2048x1007.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-7.59.16 AM-1920x944.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Hill, a mentor with California’s Offender Mentor Certificate Program, stands in front of a whiteboard discussing methods of personal healing. \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling out this “good stuff” that hides beneath our learned behavior is a universal idea.\u003c/p>\n\u003cp>“We come into this world as — not to get too existential — but as beings that are steeped in goodness,” says filmmaker Brenton Gieser. “And so many people aren’t afforded opportunities to fully actualize that goodness.”\u003c/p>\n\u003cp>Gieser adds that being born into poverty, being of a certain race or inheriting generational family challenges are all obstacles that can make any person deviate from the “good stuff.”\u003c/p>\n\u003cp>“Any level of investigation into our own journeys,” says Gieser, will lead people to “understand moments where innocence was stripped away from us.”\u003c/p>\n\u003cp>At one point, the film’s three main characters Cameron Clark, Al Roensch, and Randy Carter sit down and discuss moments in their childhood where they changed for the worse, while viewers are shown reenactments and visual metaphors related to their stories. Gieser says the goal of these clips isn’t solely to illustrate the stories being told, but to bring audiences into \u003cem>the feeling\u003c/em> of each experience.\u003c/p>\n\u003cfigure id=\"attachment_13956046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956046 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg\" alt=\"A behind the scenes shot of filmmaker Brenton Gieser giving directions on the set of the film 'The 50'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC_6600.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of filmmaker Brenton Gieser giving directions on the set of the film ‘The 50.’ \u003ccite>(Via Brenton Gieser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one scene, Clark opens up about a time he was incarcerated and exchanged photo albums with a person in the cell adjacent to him. After flipping through the images, he soon realized that the person with whom he’d swapped photo albums was the nephew of the man Clark was incarcerated for murdering.\u003c/p>\n\u003cp>Clark recalls the following day, when the two had a meeting. “This dude walks up to me and kneels down on one knee,” says Clark, as the reenactment shows the two congregating in what’s described as a blindspot on the yard. “I’m looking at him, so I kneel down on one knee.”\u003c/p>\n\u003cp>The nephew of the slain man explained how his uncle used to take him to wrestling matches, illustrating the joy they had together — humanizing him. Clark couldn’t handle it, and abruptly excused himself. But even in leaving, the moment stuck with him, pushing him on his path to examine himself and find the “good stuff.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The 50 | Official Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gW0cb_ZHick?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Clark, no longer incarcerated, is now the \u003ca href=\"https://www.dovebayarea.org/our-story\" target=\"_blank\" rel=\"noopener\">Executive Director of D.O.V.E.\u003c/a>, a non-profit focused on preventing crime and helping those formerly incarcerated to successfully return to the larger society.\u003c/p>\n\u003cp>The film ends as Clark speaks to the graduating class of the 8th session of OMPC, on a day that happens to be the program’s 10th anniversary. Clark encourages the men in the audience by saying that the community needs and misses them, and reminds them that there’s a spot for them when they return.\u003c/p>\n\u003cp>As the film trails off from Clarks’ speech and visuals of graduates, images of others who’ve since transitioned out of prison are shown, as well as their professional titles. An interview with Clark plays as he continues his vocal encouragement to those who’ve been through what he’s been through.\u003c/p>\n\u003cp>“We are experts in the field when it comes to loneliness, hurt and pain,” says Clark, noting that with the right support these people who’ve been incarcerated, who are now mentors and non-profit workers, could go so much further. “We could ultimately become the greatest healers of our society.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 50’ screens on Friday, April 19, at 6 p.m., the New Parkway Theater in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-50-oakland-special-release-screening-event-tickets-878111393817\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956038/in-the-50-incarcerated-men-become-mentors","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_21958","arts_10278","arts_22082","arts_22085","arts_1526","arts_22086","arts_585"],"featImg":"arts_13956042","label":"arts_140"},"arts_13955781":{"type":"posts","id":"arts_13955781","meta":{"index":"posts_1591205157","site":"arts","id":"13955781","score":null,"sort":[1712859198000]},"guestAuthors":[],"slug":"judee-sill-genius-lost-angel-documentary-review","title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten","publishDate":1712859198,"format":"standard","headTitle":"A Judee Sill Documentary Ensures Her Musical Genius Won’t Be Forgotten | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FSYc-cLZUEs\u003c/p>\n\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","status":"publish","parent":0,"modified":1713462800,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":928},"headData":{"title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten | KQED","description":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten","datePublished":"2024-04-11T18:13:18.000Z","dateModified":"2024-04-18T17:53:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\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>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FSYc-cLZUEs'\n title='//www.youtube.com/embed/FSYc-cLZUEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_21958","arts_10342","arts_10278","arts_977","arts_769"],"featImg":"arts_13955793","label":"arts_140"},"arts_13953248":{"type":"posts","id":"arts_13953248","meta":{"index":"posts_1591205157","site":"arts","id":"13953248","score":null,"sort":[1710518428000]},"guestAuthors":[],"slug":"topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history","title":"‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach","publishDate":1710518428,"format":"aside","headTitle":"‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"(max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Empowerment and exploitation commingle in an entertaining new documentary about the legendary North Beach dancer.","status":"publish","parent":0,"modified":1710875474,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":975},"headData":{"title":"‘Carol Doda: Topless at the Condor’ Review: Glitz, Grime, ’60s SF | KQED","description":"Empowerment and exploitation commingle in an entertaining new documentary about the legendary North Beach dancer.","ogTitle":"‘Topless at the Condor’ Profiles Carol Doda and the Raunch of 1960s North Beach","ogDescription":"","ogImgId":"","twTitle":"‘Topless at the Condor’ Profiles Carol Doda and the Raunch of 1960s North Beach","twDescription":"","twImgId":"","socialTitle":"‘Carol Doda: Topless at the Condor’ Review: Glitz, Grime, ’60s SF %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach","datePublished":"2024-03-15T16:00:28.000Z","dateModified":"2024-03-19T19:11:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"(max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\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>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tTITyLpW9nI'\n title='//www.youtube.com/embed/tTITyLpW9nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_10755111","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_11615","arts_74","arts_75"],"tags":["arts_21958","arts_10342","arts_5732","arts_769","arts_1146","arts_585"],"featImg":"arts_13953252","label":"arts_140"},"arts_13952570":{"type":"posts","id":"arts_13952570","meta":{"index":"posts_1591205157","site":"arts","id":"13952570","score":null,"sort":[1708535894000]},"guestAuthors":[],"slug":"betty-reid-soskin-music-documentary-sign-my-name-to-freedom","title":"At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era","publishDate":1708535894,"format":"standard","headTitle":"At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Betty Reid Soskin’s life story is a reminder that all of us are given just one life; and that, within it, there can be many lives lived. There’s now a film in production that’s set to drive that point home.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">Sign My Name To Freedom: The Lost Music of Betty Reid Soskin\u003c/a>\u003c/i>, directed by Bryan Gibel and co-directed by A.K. Sandhu, is a close look at how the Bay Area’s form of racism and redlining impacted Reid Soskin and her family, and how she used music to fight back.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sign My Name to Freedom 4-Minute Work Sample\" src=\"https://player.vimeo.com/video/858289902?h=745443a01e&dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>Reid Soskin has a fascinating story. She’s famously known as the woman who became the oldest United States Park Ranger in history, at age 85. This accomplishment was \u003ca href=\"https://twitter.com/BarackObama/status/1510286021182771200\" target=\"_blank\" rel=\"noopener\">celebrated by President Obama\u003c/a> on multiple occasions, including a message he sent to her in 2022 after she announced her\u003ca href=\"https://www.kqed.org/news/11910061/betty-reid-soskin-americas-oldest-park-ranger-retires-at-100\"> retirement at age 100\u003c/a>.\u003c/p>\n\u003cp>Reid Soskin, who has\u003ca href=\"https://www.wccusd.net/bettyreidsoskin\" target=\"_blank\" rel=\"noopener\"> a middle school named in her honor\u003c/a>, was also once the owner of \u003ca href=\"https://www.berkeleyside.org/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\" target=\"_blank\" rel=\"noopener\">Reid’s Records\u003c/a> in Berkeley. A community hub and resource in the historically Black community of South Berkeley, the store operated for nearly 75 years. At the time of its closing, it was the oldest record store in California.\u003c/p>\n\u003cfigure id=\"attachment_13952585\" class=\"wp-caption aligncenter\" style=\"max-width: 2085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg\" alt=\"Betty Reid Soskin posing for a photo in the 1940s at Lake Merritt in Oakland.\" width=\"2085\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg 2085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-800x982.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1020x1252.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-768x943.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1251x1536.jpg 1251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1668x2048.jpg 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1920x2357.jpg 1920w\" sizes=\"(max-width: 2085px) 100vw, 2085px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, pictured in the 1940s. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gibel and Sandhu’s film goes even further back, picking up after Reid Soskin graduated from East Oakland’s Castlemont High School and started a family with her first husband, Mel Reid. After having children, Reid Soskin and her family moved to the other side of the Caldecott Tunnel, taking up residence in Walnut Creek, where they were one of the first African American families in town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They were soon subject to racist harassment in their immediate community as well as at work, where Reid Soskin labored in the Boilermaker union during WWII.\u003c/p>\n\u003cp>These first-person experiences, coupled with reports of racist attacks across the country and war around the world, led to Reid Soskin writing songs to fight the powers that be.\u003c/p>\n\u003cp>\u003cem>Sign My Name to Freedom \u003c/em>is the title of the film (as well as her memoir and \u003ca href=\"https://www.zspace.org/signmyname\">a stage play about her life which premieres March 28\u003c/a>); it’s also the name of her best-known song.\u003c/p>\n\u003cp>In the documentary film, Reid Soskin (who’s now 102) listens to reel-to-reel tapes excavated from an old box that had been in her closet for nearly a half-century.\u003c/p>\n\u003cp>Cameras roll as she time-travels by revisiting her old lyrics, prompting recollections about world events at the time. The film also features interviews with Reid Soskin and her family, plus beautiful archival photos and home videos.\u003c/p>\n\u003cfigure id=\"attachment_13952587\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg\" alt=\"A candid shot of Betty Reid Soskin in the 1960's holding a guitar while sitting in a music circle in the Asilomar area of Monterey Bay.\" width=\"1170\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-768x929.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, in the 1960s, in a music circle in the Asilomar area of Monterey Bay. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Reid Soskin fashion, the film isn’t just about yesteryear, but what she’s doing now. It follows her to a 2018 performance at Oakland’s Paramount Theatre, where she, along with the Oakland Symphony and a 200-person choir, sang “Your Hand In Mine,” her tribute to the civil rights activist Fannie Lou Hamer.\u003c/p>\n\u003cp>The film is still in production, and the team is throwing events \u003ca href=\"https://seedandspark.com/fund/sign-my-name-to-freedom?fbclid=IwAR1MtauBei87wdBoF18zwG8npB9z_1Bvp5ujLomq1h1nRVf2EEtP1QhRb1I#story\" target=\"_blank\" rel=\"noopener\">to raise funds\u003c/a> for it. Upcoming events include an online screening on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-cbd84\" target=\"_blank\" rel=\"noopener\">Tuesday, Feb. 29\u003c/a>, in collaboration with the Zaccho Dance Company; an in-person event on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-tkbjh\" target=\"_blank\" rel=\"noopener\">Saturday, March 16, at the South Berkeley Library\u003c/a>; and a pop-up event held with the \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter Trust\u003c/a> on\u003ca href=\"https://www.eventbrite.com/e/sign-my-name-to-freedom-pop-up-tickets-824886566927?aff=erelexpmlt\" target=\"_blank\" rel=\"noopener\"> Friday, March 22\u003c/a> at the old Ford Assembly Plant in Richmond.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about ‘Sign My Name To Freedom: The Lost Music of Betty Reid Soskin’ and upcoming events \u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"An upcoming documentary unearths the famed park ranger's original songs, unheard for 50 years.","status":"publish","parent":0,"modified":1709237480,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":635},"headData":{"title":"At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era | KQED","description":"An upcoming documentary unearths the famed park ranger's original songs, unheard for 50 years.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era","datePublished":"2024-02-21T17:18:14.000Z","dateModified":"2024-02-29T20:11:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"at-102-years-old-betty-reid-soskin-revisits-her-music-from-the-civil-rights-era","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Betty Reid Soskin’s life story is a reminder that all of us are given just one life; and that, within it, there can be many lives lived. There’s now a film in production that’s set to drive that point home.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">Sign My Name To Freedom: The Lost Music of Betty Reid Soskin\u003c/a>\u003c/i>, directed by Bryan Gibel and co-directed by A.K. Sandhu, is a close look at how the Bay Area’s form of racism and redlining impacted Reid Soskin and her family, and how she used music to fight back.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sign My Name to Freedom 4-Minute Work Sample\" src=\"https://player.vimeo.com/video/858289902?h=745443a01e&dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>Reid Soskin has a fascinating story. She’s famously known as the woman who became the oldest United States Park Ranger in history, at age 85. This accomplishment was \u003ca href=\"https://twitter.com/BarackObama/status/1510286021182771200\" target=\"_blank\" rel=\"noopener\">celebrated by President Obama\u003c/a> on multiple occasions, including a message he sent to her in 2022 after she announced her\u003ca href=\"https://www.kqed.org/news/11910061/betty-reid-soskin-americas-oldest-park-ranger-retires-at-100\"> retirement at age 100\u003c/a>.\u003c/p>\n\u003cp>Reid Soskin, who has\u003ca href=\"https://www.wccusd.net/bettyreidsoskin\" target=\"_blank\" rel=\"noopener\"> a middle school named in her honor\u003c/a>, was also once the owner of \u003ca href=\"https://www.berkeleyside.org/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\" target=\"_blank\" rel=\"noopener\">Reid’s Records\u003c/a> in Berkeley. A community hub and resource in the historically Black community of South Berkeley, the store operated for nearly 75 years. At the time of its closing, it was the oldest record store in California.\u003c/p>\n\u003cfigure id=\"attachment_13952585\" class=\"wp-caption aligncenter\" style=\"max-width: 2085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg\" alt=\"Betty Reid Soskin posing for a photo in the 1940s at Lake Merritt in Oakland.\" width=\"2085\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg 2085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-800x982.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1020x1252.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-768x943.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1251x1536.jpg 1251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1668x2048.jpg 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1920x2357.jpg 1920w\" sizes=\"(max-width: 2085px) 100vw, 2085px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, pictured in the 1940s. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gibel and Sandhu’s film goes even further back, picking up after Reid Soskin graduated from East Oakland’s Castlemont High School and started a family with her first husband, Mel Reid. After having children, Reid Soskin and her family moved to the other side of the Caldecott Tunnel, taking up residence in Walnut Creek, where they were one of the first African American families in town.\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>They were soon subject to racist harassment in their immediate community as well as at work, where Reid Soskin labored in the Boilermaker union during WWII.\u003c/p>\n\u003cp>These first-person experiences, coupled with reports of racist attacks across the country and war around the world, led to Reid Soskin writing songs to fight the powers that be.\u003c/p>\n\u003cp>\u003cem>Sign My Name to Freedom \u003c/em>is the title of the film (as well as her memoir and \u003ca href=\"https://www.zspace.org/signmyname\">a stage play about her life which premieres March 28\u003c/a>); it’s also the name of her best-known song.\u003c/p>\n\u003cp>In the documentary film, Reid Soskin (who’s now 102) listens to reel-to-reel tapes excavated from an old box that had been in her closet for nearly a half-century.\u003c/p>\n\u003cp>Cameras roll as she time-travels by revisiting her old lyrics, prompting recollections about world events at the time. The film also features interviews with Reid Soskin and her family, plus beautiful archival photos and home videos.\u003c/p>\n\u003cfigure id=\"attachment_13952587\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg\" alt=\"A candid shot of Betty Reid Soskin in the 1960's holding a guitar while sitting in a music circle in the Asilomar area of Monterey Bay.\" width=\"1170\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-768x929.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, in the 1960s, in a music circle in the Asilomar area of Monterey Bay. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Reid Soskin fashion, the film isn’t just about yesteryear, but what she’s doing now. It follows her to a 2018 performance at Oakland’s Paramount Theatre, where she, along with the Oakland Symphony and a 200-person choir, sang “Your Hand In Mine,” her tribute to the civil rights activist Fannie Lou Hamer.\u003c/p>\n\u003cp>The film is still in production, and the team is throwing events \u003ca href=\"https://seedandspark.com/fund/sign-my-name-to-freedom?fbclid=IwAR1MtauBei87wdBoF18zwG8npB9z_1Bvp5ujLomq1h1nRVf2EEtP1QhRb1I#story\" target=\"_blank\" rel=\"noopener\">to raise funds\u003c/a> for it. Upcoming events include an online screening on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-cbd84\" target=\"_blank\" rel=\"noopener\">Tuesday, Feb. 29\u003c/a>, in collaboration with the Zaccho Dance Company; an in-person event on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-tkbjh\" target=\"_blank\" rel=\"noopener\">Saturday, March 16, at the South Berkeley Library\u003c/a>; and a pop-up event held with the \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter Trust\u003c/a> on\u003ca href=\"https://www.eventbrite.com/e/sign-my-name-to-freedom-pop-up-tickets-824886566927?aff=erelexpmlt\" target=\"_blank\" rel=\"noopener\"> Friday, March 22\u003c/a> at the old Ford Assembly Plant in Richmond.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about ‘Sign My Name To Freedom: The Lost Music of Betty Reid Soskin’ and upcoming events \u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom","authors":["11491"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1270","arts_21955","arts_4097","arts_21958","arts_10342","arts_10278","arts_1143","arts_3652","arts_21957"],"featImg":"arts_13952624","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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. 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